The exhibition “The Realm of Vision” brings together the creative practices of artists Zhao Peizhi, Zhang Jian, and Yafeng Duan, who each explore the dual structure of perception and feedback through their unique artistic languages. This exploration not only pertains to the perception and representation of the external world but also points to the introspection and reshaping within the subject. In their works, some reconstruct and appropriate faces and cultural symbols to provoke new understandings of identity and the other; others interweave natural landscapes and human scenes on canvas, creating a visual experience that is both profound and intense; or they guide the empirical world toward a transcendent perceptual dimension, where the subtle interplay of light, shadow, and colour generates a vibrant, evocative resonance.

 

Three artists intertwine the flow of history with individual memory, creating unique paintings that present the complex and dynamic symbiotic relationship between perceived memory and environmental existence, as shaped by distinct creative individuals. Zhao Peizhi’s work focuses on depicting everyday figures and scenes, transcending mere physical representation. He emphasizes the emotional sedimentation of individual memory and social concerns within the canvas, capturing seemingly trivial yet vibrantly alive moments with simple and sincere brushstrokes. In his paintings, figures are not only microcosms of social reality but also bearers of inner monologues. Through a focused gaze on details and an infusion of emotion, he extends fleeting experiences into visually profound narratives. His creations reflect a deep respect for humanity and nature, eschewing extravagance and clamour to present a rich and restrained humanistic spirit.

 

In this highly digitized and fragmented era, Zhao Peizhi records overlooked moments of life with a calm and delicate approach, while Zhang Jian explores the ordinary through depictions of surrounding landscapes. They imbue the everyday with a power that transcends its ordinariness, enabling viewers to reexamine familiar landscapes and faces, thus touching deeper emotional resonances and social concerns. Tracing Zhang Jian’s creative trajectory, he consistently engages with natural and urban landscapes, from his early “Courtyard Scenes” to his later “Journey Landscapes,” demonstrating an ongoing focus on the conditions of existence and the realities of the environment. In his works, everyday scenes—courtyards, tree-lined paths, street corners—seem to undergo multiple layers of time’s application, coverage, and re-presentation, transcending simple depiction to become vessels of emotion and memory. He does not over-explain his paintings but, through pure depiction, allows the landscapes to carry the flow of emotions and the sedimentation of time, rendering familiar scenes both estranged and imbued with tension.

 

Moments of life may be concrete—a passing face, a fleeting landscape—or abstract—a beam of light, a ripple’s spread. Yafeng Duan’s creations resemble colours that grow and spread organically on the canvas, ultimately coalescing into a visual “breath.” Her pictorial language is deeply influenced by the Chinese philosophical concept of “qi” (vital energy), blended with aesthetic experiences from her studies in Europe, resulting in works that exude a unique sense of space and material texture. Duan does not aim to reproduce the appearance of nature but creates a spiritual space for lingering and contemplation, where time and space transcend physical dimensions, transforming into an extension of inner experience and a flow of perception.

 

In the works displayed at this exhibition, the artists’ creations are not only a condensation of geographical spaces and a mapping of spiritual dwelling but also a visualized “spiritual breath,” highlighting the unique power of painting as a medium for thought and perception. Through their depictions of natural and humanistic scenes, they weave individual memory, social concerns, and inner experiences onto the canvas, revealing the multifaceted possibilities of painting—it is both a solidification of memory and an extension of time, as well as a re-examination of overlooked moments. This is precisely the deep connection between the real world and the individual realm emphasized by “The Place of Seeing.” In this sense, their works not only redefine the visual expression of landscapes and figures but also reaffirm the profound power of painting as a vehicle for thought and emotion.

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