Cometabolism: Avant-Garde Practices in the Post-Industrial Era

In biology, "cometabolism" refers to a metabolic process in which microorganisms, while utilizing primary energy sources, simultaneously degrade specific organic compounds. The founders of Cometabolism Studio, Yang Yafei (later referred to as Yafei) and Zhang Ning, believe this concept is equally applicable to urban life and artistic creation. They focus on the byproducts of industrial production, exploring how to intervene in China's industrial processes to achieve resource reuse. They also observe how people in modern cities alter and repurpose the functions of objects—a form of "metabolism" in which everyday items are constantly redefined through use.

The term "cometabolism" can be understood as a methodology. Can this be a stool? A transparent shelf? Or perhaps an artwork? In short, Cometabolism Studio's creations straddle the line between art and design, leaning more toward conceptual expression in the post-industrial era.

Both founders, Zhang Ning and Yafei, have backgrounds in art and design. Zhang Ning studied interior design as an undergraduate before transitioning to pure art in graduate school, while Yafei began with oil painting and later studied furniture design. In 2020, their first year of operation, Cometabolism Studio won the "New Horizons" International Emerging Designer Gold Award. By 2021, Yafei and Zhang Ning had resigned from their jobs, rented a studio in Shanghai's Qingpu District, and embarked on a new creative and life journey. Their workflow involves conceptual discussions, sketching, and idea exchanges, followed by execution based on their respective strengths. Once designs are finalized, they collaborate with factories for production, handling the assembly themselves.

Disagreements are common—whether about material choices, presentation, or the direction of expression—but these debates often lead to breakthroughs. Zhang Ning says, "When we argue, we pause our work and dive into detailed discussions. Even if we realize we’re not even debating the same point, the process often leads to creative 'breakthroughs,' and the final work usually improves."

The most well-known series of co-metabolism, "Every Stone Can Have a Seat", reflects the overlooked behaviors in the city - the roadblocks that were originally intended as barriers have become benches for passersby. In fact, this project originated from Zhang Ning's final project during his study in London: starting with a series of photographic images, it presents people's real lifestyles and forms interesting narrative relationships with related objects. And the objects themselves are not the idealized usage advocated by modernist design; their alternative functions prevail.

After collaborating with Asia and Africa, this "on-the-spot observation" was further developed. Starting from the observation in Beijing, the two hoped to capture and reflect this urban phenomenon through artistic creation. "For instance, we like to visit Beijing's parks and observe the pedestrians on the roadside... Even with public seats, many people still prefer to sit on the railings, elevated platforms and the edges of flower beds." The design inspiration for "Each Stone Can Have a Buttock" utilized stainless steel barriers combined with acrylic panels, changing the spatial relationship of the barriers in the city. This also suddenly added a sense of humor to the work, reaffirming the subtle connection between the work and the subtle connections that emerge in urban life on a subconscious level.

As early as when participating in the "Design Shanghai Talents" section in 2021, Metabolic began to reorganize the objects in public and private spaces, blurring their original functions and usage scenarios, breaking through the boundaries of common sense, and returning to the true state of the items, thereby triggering the audience's thinking and exploring more artistic possibilities.

And the subsequent "Displacement" series continued this concept, blending public and private spaces, exploring the static and dynamic nature of objects in space, and integrating the dimension of time into the works, creating new artistic works that adapt to the ever-changing reality.

Cometabolism Studio's works are instantly recognizable: transparent acrylic, fluorescent elements, and industrial fittings like cabinet hinges and hardware form their signature style. They frequently repurpose recyclable or sustainable industrial materials. For instance, Medium—Screening visualizes the distortion and loss in information transmission. Zhang Ning explains, "We want viewers to feel how information deviates as it passes through different channels, creating a 'filtering' effect."

In Farce Epic, digital generation techniques produced objects that blur real-virtual boundaries. Yafei notes their fascination with industrial organization: "We observe subtle connections between objects and their cultural significance. In an era of hyper-connectivity, distinguishing reality from virtuality becomes harder." Works like Highway Journey reconstruct urban objects in non-functional contexts, while Multiple Premonitions and Semi-Cubic Suspension mimic swimming pools with translucent blue acrylic, playing with perception.

For their Migration project at P.art Lab, they transformed a semi-open corridor into a subway-inspired space, using white, blue, and yellow to evoke transit systems. 

Stirring and Slider further explored information flow—the former suspends office chair bases to symbolize dynamic communication, while the latter humorously adapts internet CAPTCHA mechanics into visual experiments.

Analyzing their materials and compositions mirrors examining contemporary production relations. Bruno Latour, known for STS (Science, Technology, and Society) research, questioned modernity's boundaries in We Have Never Been Modern, proposing "hybrids" as both translation and purification. He argued that without reconfiguring our shared habitats, we risk losing the ability to integrate uncontrollable cultures and environments^[3]. Science, thus, is not just about objects but also their social interactions.

How do you view the gap between modern design and actual usage? How do you define your identities?

Modern design often has a clear purpose—like bollards for blocking roads. But people use them as stools or footrests. Sofas are for sitting, yet most pile clothes, becoming shelves. These unintended uses fascinate us.

We approach these behaviors neutrally, exploring future human lifestyles. They reflect real life, not idealized modernist functions. Our work highlights these overlooked actions.

How did your creative philosophy shift from functionality to art-design fusion?

We never confined ourselves to functional limits. Our pieces aren’t purely utilitarian. People ask if we’re artists or designers—either fits. This ambiguity grants freedom. We aim to offer fresh perspectives on life and objects.

Our art and design training lets us explore freely. We blur traditional boundaries, turning personal views into artistic statements.

How do you balance sustainability with production logic in your eco-conscious era?

Repurposing mass-produced items reintroduces them into social life—a form of recycling.

Why do you favor high-saturation colors?

Industrial colors like highway warning tapes offer raw visual impact. We don’t chase trends but use economical, attention-grabbing hues.

These colors exist in industrialization; we merely repurpose them.

How do materials and structure interact in your work?

Stainless steel provides stability and symbolizes mass production.

Transparent acrylic emphasizes internal structures and industrial components. Structure reflects our logic: critiquing post-industrial production through artistic intervention.