Nut : Blending Blue-and-White Porcelain with Street Graffiti

Nut, born Ke Yuzhen in 2000 in Guangdong, is one of the most prominent figures among China’s new generation of street artists. Since beginning his artistic journey in 2015, he has gradually developed a unique visual language—fusing traditional Chinese blue-and-white porcelain patterns with street graffiti—becoming the first Chinese artist to bring this aesthetic into public graffiti art. Through his signature blue-and-white palette, Nut injects a sense of cultural depth into urban environments, reviving ancient motifs with a fresh and contemporary twist.

ins: @nut.chi 

Nut’s style didn’t appear overnight. From a young age, he was drawn to street culture and underground fashion, especially brands like WTAPS and Netherwood with strong unique aesthetics. In his early years, he experimented with cartoon and graffiti styles, mimicking various forms. Through this process, he began to reconnect with his childhood fascination with blue-and-white porcelain motifs and gradually shaped an artistic identity rooted in both tradition and self-expression. “I started questioning what I really wanted to express,” Nut recalls, “and that took me back to the imagery I loved as a child—those porcelain patterns—which I then brought into the streets.” Once he began publishing his work, it quickly gained recognition in China and gradually received attention on the international stage.

One of Nut’s representative works is a mural of a soaring falcon in Sheung Wan, Hong Kong, rendered in intricate blue-and-white porcelain patterns. The falcon symbolizes freedom and curiosity and has become an iconic image of his style. Since then, Nut’s works have appeared in cities like Paris, New York, London, Scotland, Cyprus, and Russia. Before each collaboration, Nut communicates closely with organizers to understand cultural contexts and refine the visual concept. He usually prepares a rough theme and composition beforehand, adjusting the details on-site depending on the environment.

When asked about the differences in street art cultures across countries, Nut acknowledges that public attitudes vary. “Every place has a different level of familiarity with street art, which is closely tied to culture and education. In many countries, people are already used to this kind of expression and are more willing to engage with it. In China, it’s still developing, and I think it takes time for understanding to grow.” Overseas, the response to his work has been overwhelmingly positive. “Usually when I’m invited to a project, it’s because they already like my style. Sometimes it feels like they’re collecting stamps—they want to ‘collect’ a piece of your work in their city.”

Nut often uses animals as the primary subjects in his murals, believing they are neutral, relatable symbols that work well in public spaces. “I do paint people too, but only when I want to explore deeper philosophical or human themes.” He revealed that during his upcoming visit to Vienna, he may consider incorporating more figurative elements, but only if they can carry the emotional depth he aims to convey.

In addition to public murals, Nut has actively collaborated with brands and art institutions. He worked with FILA to create a blue-and-white themed graffiti installation for a pop-up event in Chengdu and filmed a promotional video for the brand. In the video, he expressed how he enjoys “finding connections” in his work—a recurring approach throughout his collaborations with European institutions. In each city, he paints blue-and-white artworks that resonate with the local environment and culture. The fusion of Eastern glaze and Western urban street style creates a compelling and unexpected harmony. He has also worked with brand like Starbucks, Nike China, Yoose and other multiple festivals in Europe. Recently, he published a small book compiling his artworks and is planning a solo exhibition in Beijing. His cross-disciplinary collaborations never lose sight of his personal vision—transforming “blue-and-white” into a modern language of expression and redefining the meaning of “tradition.”

Nut’s work is not a reproduction of tradition but a reconstruction of cultural memory and emotion. He brings blue-and-white motifs out of museum displays and onto city walls—into the visual fabric of contemporary life. “Each work,” he says, “is a response to the question of who I am.” In the ongoing dialogue between East and West, Nut is using his distinctive voice to help the world rediscover the vibrant, living energy of Chinese traditional culture.

---

interview by yuxuan.