Amanda Ross-Ho’s text-based textile work is derived from the detritus of everyday life, arranged and rearranged into combinations that imply visual poetry and unsolvable puzzles, creating a space of public address, declaration, and resistance. 

Meanwhile, Catalina Ouyang's menacing chairs address how a subject orients in physical and sociopolitical space: what histories and discourses are inscribed on the body, how the body exists contingent on architectural and bureaucratic structures.

Kyungmi Shin dives deep into both personal and collective fragmented memories, investigating global connections by looking at her father’s life to explore cultural hybridity and monsterization represented in European Chinoiserie objects, as well as the complex narratives of displacement, shifting identity, colonization, and the global economy.

Albeit from 50 years apart, Ziping Wang’s physical descriptor of work also addresses mass media. Her colorful, pixelated, graphic paintings or drawings are informed by the overload of visual information that characterizes the attention economy in the digital sphere, as well as the artist’s enduring interest in the gulfs and slippages between representation and meaning. 

Liu Xin’s films explore personal, social and technological spaces in a post-metaphysical world. Her recent research centers around the verticality of space, extraterrestrial investigations and cosmic metabolisms, examining the relationships between gravity and homeland, humanity and technology, and between past, present and future. 

Systems of knowledge and hypotheses for the future is also a central concern in the work of Stella Zhong. Her architectural sculpture can be viewed as a proposition of technology’s possibilities, which has the potential to shape future structures and environments beyond our imagination. 

Damien H. Ding’s psychologically charged painting navigates between emotions and half-remembered experiences to create a paradoxical moment of simultaneous devotion and alienation, which interact to give way to an alternative path towards the sublime. 

In comparison, Dianna Settles’ painting gets even more personal, attempting to arrest and transform fleeting moments of joy, isolation, power, and friendship to materialize ephemeral experiences.

Heidi Lau’s ceramics reimagine symbolic artifacts and zoomorphic ruins as materializations of the archaic and the invisible. In the process, she reenacts the non-linearity and materiality of the past, molding a tactile connection to the disappearing and impossible identity of home. 

Home is also on Runo B’s mind. During the pandemic, he explores the clash and fusion of different cultures, customs and political realities in his paintings of daily objects and stereotypes, which are accentuated with dark humor. 

Miranda Fengyuan Zhang’s hand woven paintings explore the idea of abstract landscapes in relation to memories. The blurry contours and the subtle palette evoke the artist’s sensibility towards the state of transience. 

Likewise, Odonchimeg Davaadorj’s mythical and poetic paintings and drawings are derived from her shamanic belief in the relationships between human and nature, between communities, and between the past and the future. The body—especially the female body—nature, nomadism and the collective in her work present us a sensitive, dreamlike universe of spirituality.