FANG Zheng (b.2000） based in Qing Dao

Zheng Fang holds a Bachelor's degree in Computational Design from the University of New South Wales and a Master of

Fine Arts (MFA) from Goldsmiths, University of London. My creative practice primarily revolves around contemporary urban life, focusing on the relationship between urban structures and social power.

In my work, skyscrapers are often employed as a symbol—both as a physical manifestation of power within the city and as a representation of social hierarchies, employment pressures, and reflections on living conditions. The architectural forms frequently seen in my works, along with interactive installations derived from urban distortions and extended gaming elements, are all ways through which I interpret the city—as a stage, an arena of contention, a system, and a container.

Material differences are also crucial in my practice. I use the contrasts and disparities between materials to convey an underlying narrative: from precision to roughness, fragility to solidity, heaviness to transparency. These combinations symbolize the various strata within contemporary cities, where differences in texture, gloss, and quality serve as metaphors for the dynamics of urban power. Through the language of materials themselves, I aim to make viewers aware that the city is not a neutral container but an ongoing force that shapes, disciplines, and influences us.

I seek to engage the audience through interactive means, allowing them to feel the tension between themselves and the urban power structures, thereby becoming conscious of the invisible rules, forces, and shaped conditions within the city.

My works often incorporate interactivity and playfulness. Through these approaches, I aim to enable the audience to experience the tension between themselves and urban power. Although many of my pieces are presented in the form of games, the interactions are not merely for entertainment. Instead, they encourage viewers to recognize their position within urban power structures—such as forced movement, rational choices, passive stagnation, and unavoidable adjustments. These thoughts and actions reflect common behavioral patterns in our daily urban lives, yet they are also outcomes shaped by urban spaces.

My practice is my way of conversing with the city. Through this dialogue, I aspire to create works that are both concise and metaphorical. They do not offer direct conclusions but leave space for the audience to interpret the underlying themes of oppression, absurdity, and fragility.

HUANG Jingyao (b.1995）Born in Guangzhou, based in New York and Guangzhou

Jingyao Huang is a photography installation artist currently based in New York City, USA, and Guangzhou, China. Her artistic practice centers around photography and extends into collage, installation, and site-specific projects. Through a semiotic analytical lens, she redefines and reinterprets everyday photographic works, exploring the significance of time and memory within living spaces. She materializes fragments of contemporary memory from the realm of consciousness into physical space, examining the meaning and value of personal identity while responding to the reverberations of environmental changes. Her work demonstrates a conscious engagement with contemporary surroundings and conveys her creative perspectives through diverse media.

Jingyao Huang's works have been recognized with the School of Visual Arts Alumni Award and have been exhibited at numerous venues, including the Roof Art Center in Guangzhou, TheBlanc Art Space in New York, the Scholart Foundation in Los Angeles, Latitude Gallery in New York, Chambers Fine Art in New York, Ki Smith Gallery in New York, 2522 House Studio in Guangzhou, and New Collector Gallery in New York. Her works are held in the collections of international institutions and private collectors, such as TheBlanc Art Space in New York, Zhu Zai Ji Restaurant in Guangzhou, Hua'an Art Institution, and Foshan Four Seasons Art Hub in Guangzhou. She holds a Bachelor of Fine Arts in Photography and Video and a Master of Fine Arts from the School of Visual Arts in New York.

LV Huiyao (b.1999), Born in Beijing, based in Beijing

Huiyao Lv received her Bachelor's degree in 2021 and her Master's degree in 2024 from the Oil Painting Department of the Central Academy of Fine Arts.

Her artistic conception revolves around polysemy—the idea that in everyday life, there exists a similar tension between words, images, and sounds, yet at times, no appropriate correspondence can be found. There are many gray, unexplored voids between similar or seemingly unrelated things, and she aims to evoke a sense of déjà vu and perceptual experience through her paintings. The subjects in her works appear both familiar and elusive, with ambiguous and sharp transformations flickering throughout, as she searches for a thought-provoking point of balance.

CAI Qi（b.2000）Born in Beijing, based in Beijing

Qi Cai graduated from the Affiliated High School of the China Central Academy of Fine Arts in 2020. In the same year, he began his undergraduate studies at the Fourth Studio of the Oil Painting Department at the China Central Academy of Fi

Food serves as a significant creative thread in Cai Qi’s work, a fascination that has persisted from his childhood to the present day. His preference for and understanding of food have gradually evolved, leading him to place greater emphasis on the social dimensions, invisible rules, and symbolic rituals that extend beyond food itself. In some of his works, Cai Qi incorporates building blocks as visual elements—a choice inspired by his childhood experiences of assembly. As “fundamental units,” these blocks can represent anything in the world. Each individual block, as a unit “1,” retains this characteristic—it can point to something, yet remains inherently neutral. He leverages this quality to enhance the structured, procedural sense of dining arrangements rather than focusing on detailed depictions of the food itself. Cai Qi has long believed that the most authentic sensory experiences cannot be conveyed through ordinary logic. They are ambiguous yet possess a subtle, infectious quality, much like the experience of a dream. Therefore, he avoids setting a predefined concept of “what the objects in the painting represent” from the outset, viewing this as a self-imposed framework that often proves inadequate in the final outcome. Instead, he prefers to create a sense of “uncanny familiarity” to complement the most genuine experiences and reflections drawn from food.

DING Jingyan (b. 1999), Born in Baicheng, China, Based in Milan.

Jingyan Ding’s work revolves around the impermanence of the self, exploring its transformations and inffnite possibilities within the realm of rupa (phenomena, the world of forms). Inffuenced by Taoist and Buddhist thought, he engages with the notions of the intangible, the formless, impermanence, and inffnity, while posing a fundamental question: Are we living in a virtual world?

In his work, the tensions between reality and virtuality, presence and absence, ffrst-person and third-person perspectives,as well as seeing and being seen, intertwine to construct a profound exploration of identity,existence, and perception.For him, the self arises from non-self. In an increasingly virtualized era, individuality ffows like data, constantly shifting in a state of non-linearity and uncertainty. Primarily working with oil painting, he regards painting as a medium that reveals the invisible through the visible—a visual language that describes a sense of ffow, immersing the viewer in a fuctuating, ever-changing self. He sees “emptiness” (wu) as both wisdom and origin. The formless world is not void, but a real and invisible dimension whose energies and laws govern the operations of the visible world. The virtual nature of the tangible is rooted in the deeper truth of the formless.

In a world of constant ffux, Ding strives to align with the laws of the formless in order to penetrate appearances and reach a more profound reality. Through his work, Jingyan Ding seeks to provoke reffection on the relationship between emptiness and substance, reality and simulation, creating a perceptual threshold that feels both familiar and unfamiliar—ultimately leading viewers to question whether the world they inhabit is truly real.