The notion of being “en route” serves as a resonant motif in the context of contemporary art. It conjures not only the physical movement of artists and artworks, but also the dynamic networks that challenge fixed notions of time, space, and authorship. In this continual state of becoming, the process of making is inseparable from the artwork itself, with its circulation and reception extending its life and meaning. The artists featured in “En Route II” work across diverse cultural landscapes. In transcultural dialogues, their works respond to the fluid contours of identity, memory, and place. Materiality becomes a conduit for these explorations while the spiritual surfaces through dreams, mythologies, and emotional topographies. Through the prism of “en route," the exhibition invites reflection on how art is shaped, redefined, and sustained within a global, ever-moving world.
This exhibition is divided into three sections.
Part 1 Fluidity: Shaping Selves
The first section features works by Killion Huang, Justin Williams, Ornela Vorpsi, and Tang Shuo. Rooted in personal histories, the artists engage image, memory, and bodily perception to explore identity as a fluid and evolving construct. From the shifting boundaries of gender and the body, to experiences of marginalization, shared emotional states, and the return of childhood memories, their works trace how the self is continually reshaped within cultural, social, and psychological frameworks. Identity is not a fixed label but a generative process—an emergent form shaped through emotional resonance, geographic movement, and retrospective reflection. Through acts of gaze and translation, the artists create a multidimensional sensorial field that invites viewers to enter the folds of individual experience and contemplate the fleeting yet deeply felt possibilities of the self.
The first section features works by Killion Huang, Justin Williams, Ornela Vorpsi, and Tang Shuo. Rooted in personal histories, the artists engage image, memory, and bodily perception to explore identity as a fluid and evolving construct. From the shifting boundaries of gender and the body, to experiences of marginalization, shared emotional states, and the return of childhood memories, their works trace how the self is continually reshaped within cultural, social, and psychological frameworks. Identity is not a fixed label but a generative process—an emergent form shaped through emotional resonance, geographic movement, and retrospective reflection. Through acts of gaze and translation, the artists create a multidimensional sensorial field that invites viewers to enter the folds of individual experience and contemplate the fleeting yet deeply felt possibilities of the self.
Part 2 Processuality: Evolving Expression
The second section features works by Josh Raz, Yang Yang, Diego Zelaya, and Romain Bagouet et Lara Bloy. The artists regard the interplay between bodily movement, inner expression, and material as an inseparable part of the artwork. This approach traces back to Jackson Pollock’s pivotal art historical shift: the idea that the act of painting is itself the work. On the canvas, emotions are released, techniques are tested, and historical imagery engages with present experience—painting thus becomes a space for generating experience. In the continuous negotiation between technique and intuition, body and image, painting becomes both a form of self-reflection and an externalization of perception. The work is no longer a final expression but an unfolding process, inviting viewers into an open-ended encounter where layered brushstrokes, color, and structure convey the immediacy and complexity of painting.
The second section features works by Josh Raz, Yang Yang, Diego Zelaya, and Romain Bagouet et Lara Bloy. The artists regard the interplay between bodily movement, inner expression, and material as an inseparable part of the artwork. This approach traces back to Jackson Pollock’s pivotal art historical shift: the idea that the act of painting is itself the work. On the canvas, emotions are released, techniques are tested, and historical imagery engages with present experience—painting thus becomes a space for generating experience. In the continuous negotiation between technique and intuition, body and image, painting becomes both a form of self-reflection and an externalization of perception. The work is no longer a final expression but an unfolding process, inviting viewers into an open-ended encounter where layered brushstrokes, color, and structure convey the immediacy and complexity of painting.
Part 3 Materiality: Living Matter
The third section features works by Zhao Jinya, Hugo Servanin, Silvia Capuzzo, and Yu Wenjie, focusing on the dynamic relationship between material and emotion, and treating materiality as a medium with sensory potential. Each artist externalizes inner experience through a distinct and nuanced material language: the transparency and fragility of glass, the fissures and density of ceramics, and the expansion and deformation of texture in painting and installation become sites where perception and psychological states reside. By engaging both the physical properties and symbolic resonances of materials, the artists construct experiential spaces that transcend sensory boundaries: color grows through light and shadow, texture evokes bodily memory, and the processes of fragmentation, sedimentation, fermentation, and transformation evolve into a visual language for articulating individual, historical, and collective experience.
Contemporary artists are reconsidering what it means to create, approaching artmaking with greater openness and sensitivity to the world around them. Rather than treating artworks as finished forms or self-contained objects, they see art as a fluid, ongoing practice. Their artistic languages span image, body, material, and memory, constantly moving between figuration and abstraction, the individual and the collective, the tangible and the spiritual. In this evolving practice, art becomes less a static object and more a way of responding—to others, to the self, to the environment. The viewer, too, is drawn into the work—becoming part of its pulse, its empathy, its reimagining—so that with each encounter, the piece unfolds anew, endlessly becoming.
The third section features works by Zhao Jinya, Hugo Servanin, Silvia Capuzzo, and Yu Wenjie, focusing on the dynamic relationship between material and emotion, and treating materiality as a medium with sensory potential. Each artist externalizes inner experience through a distinct and nuanced material language: the transparency and fragility of glass, the fissures and density of ceramics, and the expansion and deformation of texture in painting and installation become sites where perception and psychological states reside. By engaging both the physical properties and symbolic resonances of materials, the artists construct experiential spaces that transcend sensory boundaries: color grows through light and shadow, texture evokes bodily memory, and the processes of fragmentation, sedimentation, fermentation, and transformation evolve into a visual language for articulating individual, historical, and collective experience.
Contemporary artists are reconsidering what it means to create, approaching artmaking with greater openness and sensitivity to the world around them. Rather than treating artworks as finished forms or self-contained objects, they see art as a fluid, ongoing practice. Their artistic languages span image, body, material, and memory, constantly moving between figuration and abstraction, the individual and the collective, the tangible and the spiritual. In this evolving practice, art becomes less a static object and more a way of responding—to others, to the self, to the environment. The viewer, too, is drawn into the work—becoming part of its pulse, its empathy, its reimagining—so that with each encounter, the piece unfolds anew, endlessly becoming.