As a result of body movements, painting is a synthesis of personal intuition, experience and memory. For the three artists of this exhibition, painting plays a role of the projection of their external realities, and finishing a work is far from the end of creation. The three artists who were born in 1970, 1975 and 1980 get inspiration respectively from the outside world, developing their personal visual language and methods. The show exhibits their recent works in 2016–2017, the related texts, both of which are like the embedded symbols in the show, reminding us the trajectory of artists’ recent thinking.

ZHAO Yang (b.1970)

Zhao Yang has always dealing with his personal memory that buried in the collective subconscious through painting. His experience of ink painting also brings his works to another dimension. In the works of this exhibition, the characters in nature (mountains, forests or river and sea) are sketched out. These blurry images are like entrances to the secrets of the paintings, revealing the poetic clarity and unspeakable time.

LIU Xiaohui (b.1975)

In Liu Xiaohui’s recent works, the characters’ image, identity and the narration are becoming increasingly blurred. From drawing backs of women, the artist now focuses on to the figures and their reflections from mirror, these framed people have an action between wearing and tearing. The action here is like the artist’s movement of painting, lingering between starting and finishing. The exercise of the practice and scrutiny has become his working habit.

SUN Xun (b.1980)

Sun Xun has always maintained a parallel state in the conversion of medias. For the artists, prints not only play the horns for his animation, but rather unfold their self-sustaining narrative. In 2016, as the artist of Audemars Piguet Art Commission, Sun Xun exhibited his series work “Time Spy” in Miami Beach for the first time. The animation of the work will also be screened for public at Time Square in New York from July 1st to 31st, 2017.. In this work, many of the images from different cultures and histories meet in a reconstructed time and space, making the prints as a prolonged absurd drama, and directly refers to the historical reality. For the artist, the animation is another dimension of the way of painting