No Return is a solo exhibition by the New York-based Chinese artist Lin Yan, which showcases her site-specific installations, sculptures, and two-dimensional works made of various Chinese handmade paper.
Since the past ten years, Lin has been using rice paper to show the essence, depth and complexity of this traditional medium, especially to explain its related oriental aesthetics and philosophy in a contemporary context. The diversification of materiality is very important to the artist. Lin’s meditation works poetically reveal the texture and painting quality of her creative process through the crushing, folding, layering, mounting and casting of rice paper, and she often creates with colorless or dark ink.
In early 2017, the artist began to create a new series named after the Big Dipper, “Regeneration of Hope”. These works are presented as installations in specific locations, located in various cities around the world, commenting on the eternity of global warming and environmental degradation. In the difficult times of the global pandemic, life and death have become a creepy and private topic. It is in this spirit that Lin created the installation “Megrez II – No Return” (2021), which depicts the basic components of the biological ecosystem and the unity between nature, humans, and the universe. Therefore, Lin’s work opens a portal for viewers to contemplate, exploring the peaceful world of their hearts by admiring its magnificent imagery, structure, and lyricism.
Ze/Ro is a group exhibition by 5 Hong Kong local artists Au Hoi-lam, Chan Ka-kiu, Christy Chow, Jaffa Lam and Jess Lau, which is a contemplative and topical group exhibition, which feature is that the artists’ work involves the concepts of identity, gender, society and self, and is framed by social construction and gender desire resolution.
Gender is a social construction. Culture and tradition are often used to shape the content of gender stereotypes to prescribe normative social systems. In this sense, the representation of women and men is still crucial to how they are projected by themselves and others in society.
In this exhibition, the artists explore the essence of the female world. Women enhance their abilities by embracing creativity in the physical and mental realm. Inter-generational women with different identities and roles transform self-conscious behavior into beneficial results, and thus realize the sense of autonomy through individual personality and various characteristics. Their works adapt to women’s multi-sensory experience from body to mind: a life-giving carrier, which embodies the change and endurance beyond our imagination; at the same time, it is also a matrix of human imagination, emotional association and even the learning process in life.
In the Beginning is a solo exhibition of new paintings by the Los Angeles artist Joel Mesler, which uses words and images to draw inspiration from childhood memories and life experiences, and brings personal impressions into close contact with cultural touchstones and elements of universal human consciousness.
The works on display in the exhibition consist of bold stylized patterns that represent the leaves of banana trees and other plants, as well as animal forms, pools and sun. In terms of themes and styles, the tropical flora and fauna in the paintings are reminiscent of the jungle imagined by Paul Gauguin and Henri Rousseau, as well as the iconic forms of mid-twentieth century decorative art such as printed wallpaper depicting exoticism. In these scenes, the artist added phrases presented in the script, trying to incorporate the formation of letters and their integration into his works.
Boundless Union is a group exhibition by the Korean artists’ Bae Bien-U and Kwon Dae-Sup, which features large- and small-format photography works from Bae Bien-U’s Sonamu (Pine Trees) series and an installation of Kwon Dae-Sup’s moon jars. Coincidentally, Bae Bien-U and Kwon Dae-Sup were both born in South Korea in the 1950s. They dedicated decades of professional careers to the precious themes of their homeland and adopted practices developed from the inherent concepts of nature.
The exhibition is about creating resonance in stillness and movement, balance, and finding balance between different states of existence. Since people believe that the energy of life can pass through them, pine trees play an intermediary role between heaven and earth and are important in many life and death rituals. This life energy extends to the moon jar, which is a unity of the upper and lower halves, carefully connected together at the edge, echoing the shape of the full moon.
Spinning in the Desert is an exhibition of works by the Indonesia artist Christine Ay Tjoe, which was produced during the past year, this series of new large-scale paintings is a response to the changes imposed on our lives during the pandemic, and potentially provides an internal reflection.
The artist’s work practice is intuitive, gestural, and expressive, and requires a high degree of concentration. During this period, the artist almost enters a trance state. The abstract composition is constructed with expressive markers, usually concentrated on the energy spot and dense colors in the center of the canvas.
These paintings focus on the idea of “in-growing” or growing from within, forming part of the artist’s series of works beginning in 2020, and are premised on reorganizing human needs from an internal perspective. Each is named after the biological term “Cryptobiosis”, which refers to the fact that when all measurable metabolic processes stop, the organism enters an extremely inactive state in response to adverse environmental conditions.