The artist residency at Le Méridien Shimei Bay, Hainan, offered a serene coastal setting for creative exploration, reflection, and exchange. Framed by sea, light, and landscape, it provided an inspiring environment for developing new work in dialogue with one of China’s most distinctive seaside locations.
The work presented here is divided into three parts: a series about the series about rise and fall of civilizations, dispossessed refugees and apophenia.
Rise and Fall — A Stratified Narrative of Civilizations
Rise and Fall explores civilizations as layered, evolving systems rather than linear histories. Through a sequence of planetary forms, the series traces emergence, expansion, decline, and integration, revealing how structures that appear stable are in fact constructed, interdependent, and inherently fragile. Some works expose the underlying order—modular, repeated, and subject to entropy—where collapse emerges from within. The use of bronze, brass, and steel embeds different temporal and cultural associations into the material itself, while small human figures anchor these vast systems in lived experience. Together, the works suggest that past, present, and future do not follow one another, but coexist—accumulating as stratified layers within the worlds we continue to build.
The dispossessed
The Dispossessed is an ongoing series exploring fragile human presence within unstable environments. Set within vast, shifting fields of color and atmosphere, minimal figures emerge as traces of movement, connection, and vulnerability. The works do not depict specific places but evoke psychological and existential landscapes shaped by uncertainty, displacement, and transformation. Through a restrained visual language, the series reflects on what it means to persist without fixed ground—where identity, memory, and belonging are in constant flux, and where presence is both temporary and essential.
Apopenia
Apophenia—the human tendency to perceive patterns and meaning in random or unrelated information—lies at the core of how we engage with art. Faced with ambiguous forms, marks, or structures, the mind instinctively searches for order, narrative, and intention. Artists can harness this cognitive impulse to create works that appear to contain hidden messages or systems, inviting viewers to decode and interpret what may, in fact, have no fixed meaning. In doing so, such artworks reveal not only the image itself, but the powerful role of perception in constructing meaning—exposing how easily we project structure, belief, and significance onto the unknown.