Feng Bingyi、 Gao Mingyan、 Liang Ban、 Lu Pingyuan 、Nathan Zhou、 Su Chang、 Wu Junyong、 Zhou Siwei、 Zhang Ruyi
Curator: Cynthia Jiang

2016.10. 22 – 2016. 11. 20

Add: Shanghai Yangpu District Yangshupu Road No. 2361 9-3

Opening Reception: 2016. 10. 22 16: 00



In cosmic philosophy, the three prime and four dimensional infinity of the universe is the greatest reasoning precondition. In reality, the universe is five dimensional, one dimensional matter, one dimensional time, and three dimensional space.

Art, as an abstract spiritual product, is also dependent on a certain material carrier. All tangible, material as the carrier of the spirit is the artist given form, Feng Bingyi chose illusory dreams and legendary animal is replaced by a ship, she used personal experience to the image language into the visible matter, let us talk freely in the real objects and virtual space. In this dimension of matter, even some ordinary objects can make audiences understand the process of artistic creation, even associate with a tree, a table, a drawing board, and some pigments. These may be an artist’s creative material, perhaps a creative tool, perhaps a source of creation, and more likely to come directly from a part of the work. Common plant, natural scenery is more likely to be the artist as the object depicted in the works, but the object was transformed into graphic symbols and Zhou Siwei, based on the mass media, beautiful and almost overlapping color gamut gives more abstract art language. After repeated selection, experiment and refinement, these objects have more plasticity and randomness, which add unique artistic language to their works. Milk powder Zhou is especially good at this. He extended the painting with strong personal colors to our most commonly used tables and chairs, and free to see sensibility in the visible material world.

Everything has its trajectory in the time dimension, and things can evolve into different stages with the passage of time. Su Chang chose the station a week of creation, he directly use the exhibition space for exhibition wall as a creative medium, familiar with the material presented a new texture with perceptual experience in his sculpture techniques, these different texture as new works let us see the artist’s emotional changes in the time axis. Time is linear, and it marks all the events that have occurred in the artist’s creation. If we use relativistic example to understand, when a ruler is at rest, it is in three-dimensional space, but when it is rotated in situ, its coordinate values have all changed. Gao Ming grinds the curtain as the field of creation, and it runs across the time dimension of the space. The curtain flows freely with time. This flow not only activates the outer space and time, but also tries to measure the static things on the curtain by dynamic time. In the dimension of time, daytime and night exist at the same time and can be freely switched, symbolizing the external gradual and inner cycle of the artist’s creation process. Close to Wu Junyong’s works inspired by the solar system during the period of the crater, the cosmic meteor crash after traces caused by the rotation of the earth day and night change, this change is also a symbol of the whole universe time axis trajectory, all phenomena of human society are based on the passage of time forward.

In the microscopic world of the matter can be infinitely small, in the space of the universe can be infinitely large, which bring us a broad space of thinking. Space is a form of material existence, and space occupying and lining up material is an objective existence that can be directly felt by the human senses. Zhang Ruyi selected the iron doors in the real space, and moved the material to the three-dimensional space through the placement of industrial cement. In this physical space, we broke the inherent thinking of the audience, and eroded each other in the space of life and self consciousness. So, space is a pluralistic dimension, it can reflect the human consciousness space or psychological space through the essence of things. This particular object is the bathtub as a special space and beam semi works of dialogue, works on the mobile phone icon is jitter as a medium, the fictional will be flooded away the fear of imagination, but more a realistic simulation of the bath, the actual phase space, and. Space is also grasped by the abstract thought of human being, and it exists objectively through the connection of outside things. Lu Pingyuan’s creation is not limited to any material, the change of time, through his unique plot to create a new virtual space, which can be seen as a parallel world dimension of space outside the link in the visible world of material, time and space in the invisible.

The dimension space can be one person or everyone. Here, matter and time, substance and space, time and space are intertwined into “matter” and exist at the same time. And what you see is not all.

Work List