In this print series, artist Geng Xue selects several key moments from her renowned animation "Mr. Sea," capturing some of the most mysterious and dramatic scenes from the work. Through a combination of photography, painting, and digital manipulation, she recreates the fantastical and dreamlike imagery that defines the narrative, evoking a sense of both enchantment and suspense. This series further explores the intricate world of "Mr. Sea," bringing its surreal and emotionally charged moments to life in a new visual medium.

"Mr Sea" (2013 – 2014) is based on a story known all over China. The "Strange Tales of Liao Zhai," or "Strange Stories from a Chinese Studio" were written during the Qing Dynasty by Pu Songling. His collection of more than four hundred stories of the strange and supernatural was completed around 1679. Its enormous cast of characters includes ghosts, fox fairies, immortals and demons, ordinary people, and, in a sly satire of his times — and ours — corrupt officials. Pu Songling embedded Confucian and Daoist morals into his allegories, often obliquely critiquing power imbalances in Chinese society. Geng Xue took one of these well-known fables, a tale sometimes translated as "Mystery Island" or as "Snake Island," as the inspiration for her video installation. Reminiscent of the story of Ulysses and the Sirens from Homer’s "Odyssey," it tells of a young explorer who sails to the shores of a mysterious deserted island, where he falls under the spell of a beautiful girl. His adventures end badly, with tragedy and bloodshed. The blue and white porcelain protagonists of Mr Sea, two jointed puppets in human form with expressionless faces, move through an eerie landscape. The bare branches of white porcelain trees wave rhythmically, clattering against each other and sometimes even scuttling like crabs across the ocean floor.

Lyrical and evocative, Geng Xue’s allegory of doomed love takes place in shifting light and shadow. The erotic encounters between her characters, and the violent denouement with the arrival of "Mr Sea," a terrifying serpent, are emphasised by the chiming sounds of china hands touching china bodies.

This piece is crafted using fragments from historical and cultural books that Wu Wei collected during his time in Berlin. It continues his signature artistic approach while shifting his focus to Germany’s history and evolutionary processes.

In this work, part of his renowned Fur Series, Wu Wei expands beyond the exploration of cultural symbolism to address broader, more universal themes. The juxtaposition of a printed ancient sculpture with a contemporary symbolic element evokes a dialogue between antiquity and modernity, blending timeless cultural narratives with questions of transformation and progress.

The textured fur element introduces a layer of tactile and metaphorical depth, reflecting his ongoing inquiry into how material and symbolic language interact in both historical and contemporary contexts. Through this synthesis, Wu Wei invites viewers to reflect on the continuity and evolution of cultural identities and their enduring relevance.

This piece exemplifies Wu Wei’s ability to merge the historical with the contemporary, creating a work that resonates with both cultural heritage and modern sensibilities.

In Fu Xiaodong's sketchbook series, she doesn't seem to depict landscapes like a typical "artist" would. Instead, she comes across more like a curious child or a diligent student, meticulously sketching each stroke. You can feel her deep respect for both nature and the art of drawing itself, almost as if she's treading carefully. It's as if there's a silent understanding between her and the landscapes, always mutually appreciating each other. She engages in this intimate dialogue with herself through this approach. These sketches simply invite you to observe carefully and appreciate them repeatedly.

The "Sketches Along the Lakeside" series captures on-site sketches from travels to West Lake in Hangzhou, Jiuhua Mountain in Anhui, and Qiyun Mountain in Baiyue. Amidst nature's grandeur, sketching invokes the spirits of ancient sages, revealing the essence of true form and vitality. Utilizing indigo and ochre, I refine a boneless landscape painting technique, capturing nature's beauty. Sketching becomes an exploration of nature and character refinement, revealing abstract beauty's laws and cosmic contemplations. Through brush and ink, nature guides the hand, transcending worldly distractions. -- Xiao Dong

Gan Haoyu: Bridging Ancient Artistry and Technological Innovation

Renowned artist Gan Haoyu, distinguished by his profound affinity for ancient art and an impassioned dedication to craftsmanship, brings forth a unique artistic perspective. As a member of the contemporary art scene, Gan remains deeply concerned with humanity's intricate dance between self and object, particularly in the context of our modern technological era.

Artistic Exploration:
Gan's artistic focus is encapsulated in his notable work "Qiu Yin San Wei" (The Three Flavors of Earthworm), where he turns to earthworms—an entity from the non-visual sensory world—to examine the heightened human visual senses in our technology-driven society. This exploration hints at the paradoxical outcome of intensified perception, leading to an obscured understanding of the natural world.

Innovative Material Usage:
In a pioneering approach, Gan experimentally employs earthworm castings as the primary material for crafting ceramic vessels. Collaborating with Professor Wang Zhifeng's team at the Chinese Academy of Sciences, he seamlessly integrates earthworm castings with solar energy, allowing nature to determine the outcome of the vessels. The surfaces of these vessels bear traces of sand that has journeyed through the earthworms, presenting a delicate balance between perceptual precision and vagueness.

Cultural Reverence:
Gan Haoyu's artistic journey involves an in-depth study of Song Dynasty ceramics and Neolithic pottery. Through this exploration, he constantly reflects on innovative possibilities, finding inspiration in the seemingly inconspicuous earthworm. His work acknowledges the transformative role of earthworms in shaping Earth's topography, contributing to fertile soil and even playing a role in burying ancient relics.

Technological Collaboration:
The artist employs cutting-edge technology in his creative process. Utilizing a solar concentrating device (solar furnace) from the Institute of Electrical Engineering at the Chinese Academy of Sciences, Gan achieves a groundbreaking solar energy direct sintering of ceramic vessels. This pioneering technique concentrates energy at an intensity equivalent to 2800 suns, making it a revolutionary advancement in clean sintering technology.

Philosophical Inspiration:
The exhibition's title, drawn from Archimedes' work "The Sand Reckoner," reflects Gan Haoyu's exploration of how earthworms, much like reckoning grains of sand, contribute to an understanding of the infinite universe. The artist's philosophical approach, grounded in the principles of nature, transcends traditional boundaries, offering viewers a profound and thought-provoking artistic experience.

Gan Haoyu's work stands as a testament to the harmonious integration of ancient artistry, technological innovation, and a deep reverence for the natural world, creating a narrative that bridges the past and the present in a captivating artistic journey.

"Arborescence" draws inspiration from the once highly popular export of Chinese porcelain to Europe, embodying a fusion of artistic traditions with a timeless appeal. Its blend of Roman Baroque ornamental patterns and Eastern naturalistic depictions of branches and flora creates intricate, floral column formations that transcend cultural and geographical boundaries. It also serves as a space for expressive ink and brushwork, driven by curiosity and creativity, transforming these diverse aesthetic elements into a harmonious celebration of artistic exploration.

This photograph features Luo Juning
, a photographer, restaurant manager, and a Chinese living in Paris.

"From the age of 22 to 40, the most important 18 years of my life have been spent in Paris. To me, Paris is the home I hurry back to, while going elsewhere is what I call a vacation. In 2020, my son was born in Paris, and I named him "Kong" (空). At the age of forty, all my insights into life are encapsulated in this word. I am a sensitive person, and I have felt countless times the existential crisis of “life being uncertain and unpredictable from day to day,” often questioning my own emotions. "Do I still love? Do I still feel anything?" Whether toward myself, things, or my partner. Stephen Covey's answer enlightened me: "To love. Love is a verb, not a state. Love is the fruit of actions." This world is inherently meaningless, which paradoxically gives us the freedom to choose infinitely. There is no "must"; everything is chosen by me. Empty yourself, sit, and watch the tides rise and fall, without needing to rise and fall with them. That is all."

"The sacred and the profane always coexist. Beneath a filthy surface, there may lie the purest poetry; on the most despicable side, there is often a face of justice. He transfers the contradictions of reality into his images, prompting everything to be reevaluated. In this process, he strives for sincerity: acknowledging faith and ideals while also recognizing anger and the helplessness of that anger."

Since 2008, he has been engaged in photographic creation, with a focus on the human body and grounded in reality. He seeks to break conventional definitions, continuously exploring new possibilities in both form and content. In recent years, building on photography, he has employed a combination of novels, poetry, and photography to restore humanity to individuals objectified by society and life, and to reclaim the poetry that has been worn away.

This striking artwork by Gulu combines bold vulnerability with surreal visual elements. A nude figure with piercing eyes and bleach-blonde hair takes center stage, radiating raw emotion and unapologetic confidence. Surrounding her are floating, multicolored dots that create an ethereal and dreamlike atmosphere, blurring the boundaries between reality and imagination.

The interplay between the subject’s direct gaze and the playful yet chaotic dots evokes a sense of introspection, rebellion, and fragility. The work challenges societal norms of beauty, identity, and self-expression, while inviting viewers to question their perception of the human form and emotional intimacy.

Through its daring composition and vibrant visual language, this piece exemplifies Gulu’s ability to push boundaries and create thought-provoking, visually arresting art.

Olaf Hajek’s latest work, Blutender Finger, exemplifies his mastery of color and storytelling. Known for his ability to blend the familiar with the fantastical, Hajek continues to enchant with this new piece on paper. Blutender Finger features intricate details that invite viewers to explore the layers of meaning within the composition. Using his signature rich color palette, Hajek constructs a surreal world where the boundaries between reality and imagination blur.

The piece draws inspiration from Hajek’s renowned Flowerheads series, yet it pushes the boundaries further by weaving cultural elements and symbolism into a compelling narrative. The composition, filled with vibrant flora and mystical motifs, transforms a seemingly ordinary scene into something that feels otherworldly. Each element is carefully placed, evoking a sense of mystery and inviting viewers to uncover the secrets hidden within.

In Blutender Finger, familiar objects take on new significance, becoming part of a dreamscape that resonates with stories from diverse cultural perspectives. The result is a striking and imaginative portrayal where myths unfold and emotions bloom, captivating the audience with its depth and surreal beauty.

Xia Peng's art reflects a contemplation of the balance between order and chaos, narrative and abstraction, structure and freedom. His works invite the viewers to engage in a deeper reflection that transcends the surface, encouraging them to find meaning and elusive connections within those spaces that do not immediately reveal themselves.

As part of a generation of Chinese artists who grew up
during a period of rapid urbanization, Wanghua uses a wide range of different media and methods to translate philosophical ideas. Finding inspiration in Chinese idioms and allusions, as well as in Western visual culture, her works are a surreal interpretation of the imperfect physi- cal world. They bring the viewer into a reality with overlap- ping time frames, where everything is metaphysical. Even though ceramic is certainly Wanghua main employed ma- terial, she surely does not want to limit herself, as every material has different characteristics and properties. She considers her works a fable, which can express the artist’s feelings and story.

Geng Xue's work "Mr. Sea" is a contemporary interpretation and adaptation of the Qing Dynasty novel "Strange Tales from a Chinese Studio" by Pu Songling. Geng creates a specific world called "Porcelain Vision," drawing on sensory qualities from the Ming and Qing ceramic traditions to convey a unique atmosphere in her artwork. The porcelain qualities of crispness, fragility, clarity, smoothness, and coolness are incorporated to enhance the aesthetic experience and add depth to her storytelling.
In Pu Songling's original version of the story, the ghost world is presented as a parallel universe that truly exists, and the protagonist, Zhang Sheng, ventures into this world before eventually returning to his normal life. However, in Geng's interpretation, the line between reality and illusion is blurred. It is challenging to determine whether Zhang Sheng's encounters with the woman in red and Mr. Sea occurred in the world of ghosts or were merely part of his psychological space. This ambiguity is reinforced by the multiple mirror effects in the film, reflecting the characters and their experiences, leading to questions about the story's authenticity.
The "Porcelain Vision" emphasizes the relationship between light and objects, and this idea stems from philosophical thinking inspired by the tradition of Buddhism. The concept of form arising from emptiness allows for a seamless connection between worldly experiences like love affairs and the threat of death, all of which contribute to personal growth and enlightenment. The aesthetics of "Porcelain Vision" challenge the conventional perception of porcelain as a mere object and explore the dialectical relationship between enlightenment and ignorance.
Geng Xue's approach to art is deeply rooted in engaging with classic art history while developing her contemporary practice. The concept of "imitation of ancient time" is a common method for cultural practitioners to reflect on and create new works. Geng uses this approach to critique and question aspects of contemporary Chinese society, such as gender inequality, lack of individuality, ambiguity, and the remnants of monarchy. Through "Mr. Sea," she presents a vivid and dazzling world, combining stop-motion animation and ceramics to establish a poetic narrative and sensory experience that engages with her "Porcelain Vision."
Overall, Geng Xue's work demonstrates her profound understanding of traditional cultures, her ability to create contemporary art that questions prevailing societal norms, and her skill in using multimedia to convey her artistic vision. Her art serves as a medium for deeper conversations about culture, history, and the human condition in the rapidly changing modern world.

This image features Justine, a curator. Justine is a Vietnamese living in Paris.

"A bit of my experience as an Asian woman in France. I am a third-generation immigrant of Vietnamese descent and was born and raised in Paris, France. 

Growing up, like many kids with immigrant backgrounds, I was teased, called names, and sometimes even assaulted because of the way I looked. I have a very French name and a very French-looking father, so when he went to enroll me in school when I was three, the director felt comfortable telling him we were “lucky because there weren’t too many Asian people in this school” (we were living in the 3rd arrondissement, where many people of Chinese descent live). I don’t know why this memory stuck with me—probably because we laugh about it now—but it’s such a clear reflection of where things stood and still stand. Anti-Asian racism, even though it's talked about more now, is completely trivialized and even more so during the 2000s and 2010s—throughout my childhood, adolescence, and into adulthood.

As a kid, I didn’t know how to respond, because I didn’t understand the hate. I felt isolated and didn’t talk to my parents about it. My father, a white man, though well-meaning, could never fully grasp what I was feeling. My Vietnamese mother, who had arrived in France as a child, had faced much tougher challenges, wouldn’t be able to relate to my 'first world problems.'

Throughout my teenage years, I was never the girl guys wanted to date. I spent so much time thinking how my life would be better if I looked more like my dad. I have pages and pages of diaries where I wrote about how painful it was not being the blonde, white girl everyone seemed to find beautiful—the kind of beauty that dominated the media we were consuming at the time."

"Relievo" has the playful tension between the solidity of relief and the softness of painterly texture. At first glance, the work convincingly evokes the tactile concreteness of an ancient carved relief, drawing the viewer into its simulated materiality. However, upon closer inspection, the painting's genius becomes apparent in its deliberate subversion of this concreteness. The textured surface, achieved through hazy and blurred brushstrokes, destabilizes the viewer’s perception of the "solid" relief. The fuzziness in the texture introduces a sense of impermanence, as if the figures are dissolving into memory or emerging from an indistinct past.

This play between sharpness and vagueness gives the painting a dreamlike quality, situating it in a liminal space between artifact and abstraction. The abstraction also tempers the theatrical elements depicted in the relief. In addition to the hazy brushstrokes, the relief depicted is only a fragment of a larger picture. These different layers of abstraction combines the expressive and the indeterminate, inviting the viewers' deeper engagement to appreciate its aesthetics and wonder at the missing narrative.

This artwork continues Meng Donglai's artistic exploration, blending the boundaries between virtual and real to present a world that feels both familiar and strange. The snow-covered wilderness in the scene exudes a sense of tranquility and desolation, while the surreal creatures—a softly glowing white figure and a furry creature with exaggerated legs—inject an element of the fantastical into the composition.

The snow tracks and tire marks hint at human activity but deliberately exclude human presence, leaving the scene imbued with suspense and openness. By interweaving fictional characters with a natural setting, the work explores the boundaries between humanity and nature, reality and imagination, while also reflecting on the subtle relationship between solitude and companionship in the modern world.

Meng Donglai is known for drawing inspiration from randomly selected Google Maps street views, transforming ordinary real-life scenes into virtual adventures. This piece exemplifies her approach, as the surreal creatures and transformed background transcend time and space, inviting viewers to reflect on their connection to the environment and their search for meaning in unfamiliar worlds.

Through its cool tones and playful composition, the artwork captures a tension between solitude and fantasy. It is a quintessential example of Meng Donglai’s ability to balance reality and imagination, the ordinary and the extraordinary, within her art.

In Yuchu Gao's works, faces and figures undergo constant transformation, capturing the essence of change. Through her paintings, she explores themes of female evolution, encompassing changes in the body, mind, and society. Layers of expressive strokes create a sense of tactile depth, portraying contemporary female images with intricate detail. Yuchu Gao's portraits reflect the fluidity of time, blending historical and modern elements. Manipulating paper and canvas, she crafts sculptural-like compositions. Drawing inspiration from ancient Mediterranean and Asian art, her works embody universal human experiences. Quoting Yuval Noah Harari, Yuchu Gao emphasizes the importance of imagining alternative destinies. "The anomaly of humanity" becomes a gateway to new possibilities, challenging viewers to imagine the unknown.

This painting by Olaf Hajek embodies his signature style, merging lush botanical motifs with mythical, dreamlike figures. The piece radiates an enchanting energy, blending vibrant foliage and symbolic human forms to create a surreal yet harmonious tableau. The intertwined elements of flora and human figures suggest a metaphorical unity between humanity and nature, evoking themes of growth, transformation, and coexistence.

Hajek’s use of vibrant, layered colors and intricate detailing creates an otherworldly garden where each element tells a story. The characters, adorned with leaves and flowers, appear both ethereal and grounded, blurring the line between reality and fantasy. Their expressions and postures invite the viewer to contemplate the deeper connections between the natural world and human emotion, highlighting the fragility and resilience of both.

Garden of Allegories is a testament to Hajek’s ability to weave narratives through visual complexity, immersing the viewer in a world where nature and humanity are inextricably linked, reflecting the artist’s fascination with storytelling, mythology, and cultural symbolism.