1968年生于北京，1995年毕业于中央美术学院雕塑系。1999-2007年任上海师范大学美术学院雕塑工作室教师。现工作、生活于北京。
    与其说向京是个“女性主义”艺术家，不如说她是个带有女性视角和女性意识的艺术家，但这都不是重点，她作品里透露出的不安感，是对于现代性下人性的迷雾和对于生存本身的不断确认——“内在性”是她所企图挖掘的生存真相。问题先行是向京的工作方法，但她在业已被边缘化的写实雕塑语言里，在个人化塑造、雕塑着色、玻璃钢材料的使用这些语言建构上，都做出非常独特而影响深远的当代性实验，开创出一种“外在看来是具象的现实主义，实则深度探讨内在的精神价值”的作品面貌，在当代艺术景观里构成一种边缘但是独树一帜的风格。在谈及“当代性与传统媒介”、“女性身份与普遍人性”、“观看与被看”、“内在欲望”等学术命题时，向京及其创作是不可回避的个案。
    在“镜像”（1999-2002）“保持沉默”（2003-2005）“全裸”（2006-2008）以及“这个世界会好吗？”（2009-2011）这四个阶段性的个展系列里，向京一直在身份、心理情境、身体这些线索上进行思考。一些重要的个人作品如《砰！》（2002）、《你的身体》（2005）、《敞开者》（2006）和《一百个人演奏你？还是一个人？》（2007）《无限柱》（2011）、《这个世界会好吗？》（2011）、《白银时代》（2011）等，前期通过艺术家的几个不同创作阶段“处女系列”、“身体系列”等宣告了这种语言的日臻成熟，包括对雕塑语言的实验，以及在创作、布展时用空间和镜像等多重语言，以女性身体为载体探讨超越“性别”、对于存在本质、对于个体和世界关系等命题。在“这个世界会好吗？”系列里尝试用杂技和动物两个系列隐喻人性“处境”的话题，延续了向京对内在性问题的追索。
    向京曾在众多机构举办个展，包括台北当代艺术馆(2013年)，北京今日美术馆(2012年)，北京当代唐人艺术中心(2008年)及上海美术馆(2006年)。向京的作品在世界各地广泛展出，包括美国、英国、德国、日本、挪威、意大利、西班牙、荷兰、奥地利等。她的作品被重要国际机构收藏，包括北京中央美术学院、北京今日美术馆、上海美术馆、香港M+博物馆、上海龙美术馆和美国威斯康星州麦迪逊市的Chazen艺术博物馆(Chazen Museum of Art)。向京于2012年荣获“马爹利非凡艺术人物”桂冠。

　　Xiang Jing was born in Beijing in 1968 and graduated from the faculty of sculpture, Central Academy of Fine Arts in 1995. She taught at the Sculpture Studio of the Fine Arts College, Shanghai Normal University from 1999 to 2007. Xiang now works and lives in Beijing.
　　Xiang’s artwork reveals a sense of insecurity through which the misty nature of the modern human character and life itself are accentuated and reified. Xiang Jing seeks after the existential truth of life through her continued investigation of “internality” in her work. Though Xiang Jing has been viewed as a “feminist” artist, she is perhaps more accurately described as an artist with a woman’s viewpoint who is conscious of the female perspective.
　　Xiang Jing’s methodology is problem-oriented; although the realist sculpting language in which Xiang’s works are conducted has been marginalized as of today, she has made idiosyncratic, powerful, and influential modernistic experiments within that artistic language framework by giving each of her sculptures individual appearance and character, hand-painting her sculpture, and choosing fiberglass as her principle material. These innovative efforts engender an impression of her work that is “representational and realist on the exterior, but highly contemplative and inquisitive in the internality of human nature”. Xiang Jing and her work are not taken lightly in any serious discussion on academic topics such as “modernity vs. traditional medium”, "the female identity and the universal human nature”, "to observe and to be observed”, or “internal desire”.
　　In four successive phases of solo exhibitions, “Mirror Image” (1999-2002), “Keep in Silence” (2003-2005), “Naked Beyond Skin” (2006-2008), “Will Things Ever Get Better?” (2009-2011), Xiang Jing is highly reflective of issues related to identity, psychological state, and body. Some of her most significant works include Bang! (2002), Your Body (2005), The Open(2006), Are A Hundred Playing You? Or Only One?(2007), Mortals-Endless Tower (2011), Otherworld-Will Things Ever Get Better? (2011), Otherworld-The Silver Age (2011). In the first few of these phases, the “Virgin Series” and the “Body Series” (works in the “Keep in Silence” phase) demonstrate the gradual maturation of Xiang’s artistic language. This process is constituted by her experimentation of sculpting language, and her exploration of reflective language involving creative use of space and mirrors, which, in hindsight, proves that Xiang probes beyond the female body schema and transcends “gender”. The concept of body is used as a medium to question the essence of existence, and the relationship between individual and the world at large. “Will Things Ever Get Better?” (2011) phase consists of the “Acrobat Series”, and the “Animal Series”, which metaphorically represent the “predicament” confronted by our humanity – human’s social and exterior character (acrobat) vs. natural and internal character (animal). This development can be seen as further iterations of Xiang’s incessant quest over “internality”.
　　Xiang Jing has held solo exhibitions at numerous institutions and establishments, including the Museum of Contemporary Art Taipei (2013), the Today Art Museum Beijing (2012), Tang Contemporary Art Beijing (2008), and the Shanghai Art Museum (2006). Xiang’s works are also exhibited at various museums in the US, the UK, Germany, Japan, Norway, Italy, Spain, the Netherlands, and Austria, etc. Her works are collected by prestigious institutions including the Central Academy of Fine Arts (CAFA) Art Museum, the Today Art Museum Beijing, the Shanghai Art Museum, the Long Museum Shanghai, and the Chazen Museum of Art at Wisconsin, Madison. Xiang Jing was awarded Martell Artist of the Year in 2012.