Artists: Chen Li, Feng Yan, Jessie Tan, Yu Wenjie
Duration: 2023/6/9-7/9

In collaboration with Huten Gallery 

In the postmodern present, as we search for the door to the future, the lamp in our hand casts a halo of light along our line of sight; with each step forward, it seems that the scope of light becomes larger. As we awaken from the collective consciousness bound to move forward with absolute guidelines, we gradually detach from the metanarrative and shift our viewing perspective to the small narrative, the linear relationship instantly dissolves, and time and space are instantly stripped of their logical armor, intermingling, and distorting like water, rapidly and non-stop shifting their forms as never before. "Light Escape" is based on the commonality of visual cues in the work of four artists. “Light” here refers not only to the physical basis of the creation of visual forms but also to the perceptual elements that connect the artist and the audience on a level of spiritual awareness. In the realm of visual art, "abstraction" is understood as the subjective spiritual expression of objective nature, and the current "abstraction" is swimming in the cross-media practice, and if we are not careful, we will easily fall into the current of information and drown in a vortex of information. We wish to fly a kite of "abstraction" in the steady rhythm of introspection, using "light" as a thread.

 Chen Li's work mainly uses synthetic color materials on a two-dimensional plane, with flexible lines that create spatial order on a wide range of colors and express the creator's mood in a unique way. coherent rhythm: seemingly careless passages capture the unique spiritual atmosphere of Chen Li's point of view in the details of the texture. The series of balsam flowers displayed in the exhibition reflect the voice of a woman who was suppressed by social relations under certain restrictive environmental conditions that persisted through childhood memories of dyeing her nails with balsam flowers in the countryside; The blooming flowers symbolize flexible self-expansion, and the brave struggle against speechlessness and suffering.

 Feng Yan is adept at interweaving the broken illusion of reality with geography-like textures. Her experience of learning intaglio makes “trace” and “fortuity” emphasized in her creation. The work presents a vast sentimental space and a flowing sense of movement. Her perception of humanity and astronomy is intuitional and stems from the spiritual thinking of human beings as subjects. "Mother" celebrates the wild and vigorous life force of Mother Earth. The traces of man and nature intersect in a long and narrow space, just like a corner of the canyon where the history of humanity and the essence of heaven and earth are concentrated.

 For Tan, painting is like a prophecy; prophecy takes the form of poetry, and the visual clues of painting are also a kind of poetry. In Tan's works, the clues of painting as an act are intuitive, open, and receptive, allowing her to find the present moment and understand herself through her paintings; she tries to use painting as a carrier to hide the details of reality in the form of clues, explaining the experience of life, explaining the attitude of painting, and making each other feel relieved through the meaningful explanation of the picture.

 Through his works, Yu Wenjie focuses on the contradictions, conflicts, and connections between individuals and the world, in which ironic humor can often be felt. He leaps forward to combine history and the future, showing that "the present is both past and future" in his works. The work "Fountain Edge" presents a spiritual image in Yu Wenjie's mind centered on a fountain; he uses a sewing machine to stitch together cotton, silk, linen, and watercolor paper, and then adds dry color powder to the surface to fix it, to "mend" the broken "the shattered memories of dreams in his mind.