9. 3 - 6 Booth B11
Tang Contemporary Art is proud to be exhibiting the latest works by thirteen celebrated contemporary artists, including Ai Weiwei, Andres Barrioquinto, Diren Lee, Etsu Egami, Gongkan, Jigger Cruz, Jonas Burgert, Julio Le Parc, Woo Kukwon, Wu Wei, Yue Minjun, Zhao Zhao, and Zhu Jinshi. With works that convey our current reality through the artist's lens, they display their precocious artistic sense and creativity.
b.1957, Beijing, China
Ai Weiwei is renowned for making strong aesthetic statements that resonate with timely phenomena across today’s geopolitical world. From architecture to installations, social media to documentaries, Ai uses a wide range of mediums as expressions of new ways for his audiences to examine society and its values.
Recent exhibitions include: RAIZ, OCA exhibition space, Ibirapuera Park, São Paulo, Centro Cultural Banco do Brasil in Belo Horizonte, Centro Cultural Banco do Brasil in Rio de Janiero, Brazil, 2019; Bare Life, Kemper Art Museum, Washington University, Washington D.C., USA, 2019; Resetting Memories, MUAC Museum, Mexico, 2019; Life Cycle, Marciano Art Foundation, Los Angeles, USA, 2019; Refutation, Tang Contemporary Art, Hong Kong, 2018; Wooden Ball, Tang Contemporary Art, Hong Kong, 2015; Inoculation at Fundacion Proa in Buenos Aires; Good Fences Make Good Neighbors with the Public Art Fund in New York City; Ai Weiwei on Porcelain at the Sakip Sabanci Museum in Istanbul; Ai Weiwei: Trace at Hirshhorn at the Hirshhorn Museum and Sculpture Garden in Washington D.C.; Maybe, Maybe Not at the Israel Museum in Jerusalem; Law of the Journey at the National Gallery in Prague, and Ai Weiwei. Libero at Palazzo Strozzi in Florence.
In 2019, Ai Weiwei won the GQ Magazine Men of the Year 2019 award in the artist category. His largest exhibition to date ‘RAIZ’ is also the highest-ranking show by a single artist in The Art Newspaper visitor figures survey for 2019.
b. 1975, Manila, Philippines
Graduated from the College of Fine Arts and Design with, Major in Painting, Barrioquinto’s works are collected by important institutions like Singapore Art Museum. In more recent years, Barrioquinto's works have developed a distinctive style of surreal and hyper-realistic portraits. With fine strokes in acrylic and oil, the artist renders recognizable faces in subdued tones. The darkness in his old style still creeps into his newer works, though masked by the calmness of flowers, birds, butterflies and traditional patterns belonging to Japanese culture – specifically ukiyo-e, Japanese woodblock prints from the Edo period. Barrioquinto’s exquisite image overlaying, patterning, and image appropriations from various Asian cultures create dynamic juxtapositions and open up numerous possibilities of interpretation, earning him both critical and commercial attention, locally and abroad. The selected exhibition includes “Realistic Abstraction”, Tang Contemporary Art, Bangkok, 2022; “Group Show - Falling”, Tang Contemporary Art, Beijing 2nd space, China, 2021; “THIS IS MY BEAUTIFUL TITLE”, START Art Fair in the Saatchi Gallery, London, United Kingdom, 2019, etc.
b. 1983, South Korea
Diren Lee builds a view on the world that cannot be explained by just one series of works. By releasing new series, mixing, and rebuilding it with her previous one, she creates her own world. The inner world created to heal her pain now describes her unique characters and symbolism through the homage of classical myths and orientalism. All her works is painted on canvas with a single brush, and such process is also linked to her desire to give the characters a living and breathing vitality. Diren is loved by public and art lovers through many collaborations and design products with businesses in Korea.
Diren Lee analyzes stories of unconsciousness through dreams beyond self-consciousness, then expresses the essence of consciousness on canvas. All the characters in her dream are parts of spiritual energy. The characters are expressed as connected creatures, stressing the meaning of “one-being”. Her previous works concentrate on analyzing inner scars, trying to expose and overcome her inner complex through the interpretation of dreams and unconsciousness. Her works refer to the journey of time during which she experiences mental trauma resulting from failure or humiliation and overcome emotions that led to anxiety. From this point on, her work begins to show a comfortable looking eyes and soft colors, telling the story of overcoming with the sweet and beautiful fruits that we meet after enduring suffering. She expresses her desire to convey comfort and warmth by hugging and making eye contact.
Selected exhibitions include: “Global Song”, Tang Contemporary Art, Hong Kong, China , 2022; “Back to Work”, Waluso Gallery, UK , 2021; “Turning Point”, Gallery Doo, S. Korea , 2021; “Stay with us”, Humax art room x Open gallery, S. Korea , 2020; “Fruit”, L Gallery, S. Korea , 2019; “On those that disappear”, MIEL Gallery, S. Korea , 2018.
She has also participated in art fairs including: Kiaf, S. Korea , 2021, Affordable Art Fair Battersea, UK , 2020, One Art Taipei, China , 2020; Affordable Art Fair Singapore, Singapore; Art Expo Malaysia , 2019 , Kuala Lumpr, Malaysia; BAMA , Busan Annual Market of Art Busan, S. Korea , 2019; Asia Contemporary Art Show, Hong Kong , 2019; Art Expo Malaysia, Kuala Lumpur, Malaysia , 2018; Art Gyeongju, Gyeongju, S. Korea , 2016; Spoon art fair, Gallery Sein, S. Korea , 2015; Art show Busan, Busan BEXCO, S. Korea , 2015.
b. 1994, Tokyo, Japan
Etsu Egami graduated with a B.F.A. from the Central Academy of Fine Arts , CAFA specializing in Oil Painting in 2016. She graduated with an M.F.A. at CAFA under the mentor of artist Liu Xiao Dong and studied in HFG in Germnay. She is now in New York dispatched as talented artist by Agency for Cultural Affairs, Japan Government. Etsu Egami currently lives and works between Tokyo and New York.
Growing up in United States and Europe, and currently living and working in China, Etsu Egami experienced various communication barriers she encountered as a result. She felt that languages can “only be sensed, not explained”, thus becoming more interested in the discipline of language and communication. Etsu’s works comprise of various media forms, such as voice, video and drawings, through which she strives to question human’s instincts and the authenticity of communication. Curator of Pompidou art center Julie said about her , “I saw all these specificities as a source, not only of misunderstanding, but also of creation and richness in people’s relationships. ”. Chinese curator Feng Bo Yi also said “Etsu’s creation is about the concept and the significance of ‘communication’. Through the paintings and videos which embodies these mishearing games, as well as the evolution of times, the clashes between civilizations, we acquire a discourse on the barriers in language communications, and subsequently even trigger a crisis.”
Selected solo exhibitions include ”Etsu Egami: Rainbow”, Whitestone Gallery Karuizawa, Japan, 2022; “Etsu Egami: In a Moment of Misunderstanding, All the Masks Fall”, Tang Contemporary Art, Beijing, 2021; “RAINBOW- ETSU EGAMI”, Whitestone gallery Taipei, Taipei, 2021; “Face book- EGAMI ETSU”, ChambersFineArt, New York, USA, 2021; “Entrance Gallery Vol.1 Egami Etsu”, Chiba City Museum of Art, Chiba, 2020, etc. Most recently she is nominated as Forbes 30 UNDER 30 in 2020 and finalist of Asian Art Prize of Sovereign Art Foundation in 2019.
b. 1989, Thailand
Graduated from Kasetsart University Laboratory School in 2007 and from Silpakorn University, Faculty of Decorative Arts, in 2011, Kantapon Metheekul, better known as Gongkan, currently works and resides in Bangkok, Thailand. After graduating from Silpakorn University, the artist moved to New York City, where he spent 3 years working in the creative departments of advertising agencies. In his spare time, he created street art and illustrations centered on the idea of him being transported through time and space to his homeland. His work, which he named “Teleport Art”, gained notoriety in the New York street art scene and later in Bangkok. The element of time is a predominant concept in Gongkan’s paintings: surrealistic canvas, populated by human figures, realized with graphic flat strokes. By presenting different visions of the present times or rewriting the past, the artist creates alternate realities in the process.
His selected and recent solo exhibitions include: “Tip of the Iceberg”, Over the Influence, Los Angeles, 2021; “Yestertedaytomorrow”, River City Bangkok, Bangkok, 2019; “Teleport to Taiwan”, Taipei, 2019; “Black Area”, Funstown, Beijing, “Street Art with First Street Green Art Park”, New York City, United States, 2018; “The Another Dimension”, Siri House, Singapore, 2018; Selected group exhibitions include: “Vogue HOPE” by Vogue Magazine, Siam Center, Bangkok, Thailand, 2020; “Wonder Forest: Asian Illustration”, Powering Art Center, Xiamen, China, 2019; “Asia Illustration Fair”, Power Long Museum, Shanghai, China, 2019; “Lucid Exhibition”, Seoul, South Korea, 2016; “The Warmest Winter”, New York City, United States, 2016.
b. 1984, Malabon City, Manila, Philippines
Jigger Cruz graduated with a Bachelor of Fine Arts at the Far Eastern University, Manila and also trained at the De La Salle College of Saint Benilde before pursuing a full-time career as a painter. The artist has been listed in international auction houses around the world, and has exhibited in both solo and group shows locally and internationally, from the Philippines to Thailand, Indonesia, Singapore, Japan, Germany, Switzerland, France, Italy, Austria, and the United States. His work can be found in multiple public collections, including The Dikeou Collection, Denver, CO, USA; Guggenheim Museum, NY, USA; Saatchi Collection, London, UK; and Zabludowicz Collection, London, UK.
Cruz’s art practice is characterized by his idea to play with defacement and vandalization, making use of oil colour, spray paint and rough interventions directly on the canvases, which are sometimes burned and, in some cases, even cut. Each artwork is created by the artist from a canvas previously painted, where he copied the Flemish and Post-Renaissance masters. Apparently, without a logical scheme, Cruz applies layer by layer the dense oil colour, not only hiding, but rather mystifying the classical backdrop. In this way, the artist explores, through his artworks, the deep relationship between the canvas and its meaning, past and present, figuration and abstraction. The figures of the classical paintings that transpire below, remind the viewer of the painstaking pictorial activity and the art historical baggage of the contemporary painter.
b. 1969, Berlin, Germany
Jonas Burgert paints a stage every time that he lifts his brush: with every stroke, with every composition. His works depict the inexhaustible theatre play that Burgert considers to be human existence: man’s need to make sense of his purpose in life. It is a quest that seems inconclusive, but which opens doors to every sphere of reasoning, imagination and desire. Oversized canvases are crowded with fantastical figures of different proportions. Jonas Burgert graduated from the Academy of Fine Arts, Berlin, in 1996 and consecutively studied for a postgraduate title , Meisterschueler under Professor Dieter Hacker in Berlin.
Since 1998, his work has been on view in numerous group shows around the world, including Geschichtenerzaehler at Hamburger Kunsthalle, Hamburg , 2003, and Triumph of Painting Part VI at London’s Saatchi Gallery , 2006. Since 2006 Burgert’s work has been on view in solo exhibitions around the world, including: bluht und lugt, Long Museum, Shanghai , 2021; Blindstich, Tang Contemporary Art, Beijing, China , 2020; Sinn frisst, Arp Museum Bahnhof Rolandseck, Germany , 2020; Ein Klang Lang, Tang Contemporary Art, Hong Kong, China , 2019; ZEITLAICH, Blain|Southern Berlin, DE , 2017; Schutt und Futter, Hannover Kestnergesellschaft, Hannover, DE , 2013; Jonas Burgert: Lebendversuch, Kunsthalle Tübingen, DE , 2010 - 2011; Jonas Burgert: Hitting every head, Haunch of Venison, London, UK , 2009 and Jonas Burgert: Enigmatic Narrative, Victoria H. Myhren Gallery, University of Denver, US , 2008. Public collections include Long Museum, Shanghai; Burger Collection, Hong Kong; Denver Art Museum, US; Rubell Family Art Collection, US and Taguchi Art Collection, Japan.
Julio Le Parc
b.1928, Mendoza, Argentina
Considered as a pioneering figure in association to Op Art and Kinetic Art, Julio le Parc specializes in large sculptural installations and paintings, in which both genres epitomize the artist’s manipulation of rich, often primary, colors and geometric shapes to construct illusionary spaces. These spaces subsequently guide the audiences’ viewpoint across his works, representing and directing ‘movement’ – a concept hallmark to le Parc and is continually experimented with by the artist.
Beginning as one of the leading figures of the Groupe de Recherche d’Art Visuel (GRAV) since the 1960s, Julio le Parc received in 1966 the Grand Prize in Painting at the 33rd Biennale di Venezia, Venice. Le Parc has produced countless celebrated artwork series, including Sphere Rogue, Modulations, Mobile, Alchimie, La Longue Marche, and more. Le Parc’s recent exhibitions include: “Julio le Parc”, Kaiser Wilhelm Museum, Germany, 2022; “Julio le Parc: Kuboa”, Tabakalera, Spain, 2020; “Julio le Parc: Colour and Colours”, Perrotin Gallery, New York, 2020; “Julio Le Parc & Osgemeos”, Fortes D’aloia & Gabriel, Brazil, 2019; “Julio le Parc: Light - Mirror”, Galerie Perrotin, Hong Kong, 2019.
Le Parc’s works are also collected worldwide including in Havana, Düsseldorf, Montevideo, Caracas, Asunción, Mexico City, Stockholm, Berlin, Madrid, Barcelona, Santiago de Chile, and Porto Alegre.
b.1976, South Korea
Woo Kukwon currently lives and works in Seoul. His work focuses on the gap between reality and fantasy, working mainly with oil paints as well as drawings on paper and installations.
Woo was exposed to the heavy subject of life and death at a far too early age, pushing him to hide away from reality and into the fantasy-filled story world. After growing up, he discovered the cruelty hidden behind seemingly beautiful fairy tales, making him re-interpret the world from a new perspective driving him to investigate philosophy and religion. In the same vein, the Three “B” (Beautiful, Baby, Best) always coexist with the death motif in his works. The equivocal co-existence of reality and fantasy called upon the artist to seek truth in fairy tales, humour in philosophy and freedom in the bible.
Woo's early works mainly consisted of roughly scratched paintings, expressing the raw dangers of a wandering ego. His more recent works evolved into a more stable form expressed through the build-up of thick layers of paint into a rich material. Woo Kukwon's work combines cruel fairy tale scenes and roughly scribbled famous words with his natural gift of colour, creating a unique genre that mixes Pop Art and Figurative Art.
Woo is a promising artist who was selected as one of the 20 artists for the 32nd JoongAng Fine Arts Prize, which is one of Korea's most important awards. He has held numerous solo exhibitions since 2009. His art piece has been collected at Culture Convenience Club, a Japanese company that operates Tsutaya, a nationwide bookstore in Japan. Furthermore, his paintings have been collected at various museums in Korea, such as the National Museum of Modern and Contemporary Art, Seoul National University Museum of Art, etc.
Selected Solo Exhibitions include "Woo Kukwon Solo Show", Lee Eugean Gallery,2014; "REDEEMED", Gallery BK, 2017, "Querencia", PYO Gallery,2018; "Art Plage", Lotte Gallery, 2018; "Third Time Lucky", Gallery BK, 2018; "JEREMIAH WAS A BULLFROG", Lotte Gallery, 2020 etc. Selected Group Exhibitions include "Moa Invite", Seoul National University Art Museum; "Korea Tomorrow", Seoul Arts Center, 2013 and "Story Shower", Kolon Space K Museum, 2015 etc.
b. 1981, Zhengzhou, Henan Province, China
In 2012, Wu Wei graduated from the Experimental Art Department of the Central Academy of Fine Arts with a master's degree and now lives in Beijing. Wu's works are full of sensual desires, involving topics of civilization, barbarism, and mythology, looking for new feelings and possibilities in materials and space. The artist cuts and restructures the paper, presenting furry textures. The ‘beastly pattern’ and certain kind of ‘godly creature’ with a vivid colour appear in parts, or interchangeable forms, and present new meaning with the pure, abstract formal elements. The artist contemplates and investigates contemporary culture consistently, resulting in symbolism in his works.
He won the 6th Anniversary Award for the New Artists Space Award in 2015, and won the 3rd New Star Art Festival Art Award in 2012. He participated in an international art residency in Vienna, Austria and Berlin, Germany. His works have been exhibited in Tang Contemporary Art , Beijing, Bangkok; Whitebox Art Center, Beijing, Power Station of Art, Shanghai, Art Museum of Nanjing University of the Art, Beijing Minsheng Art Museum, Ichihara Lakeside Museum, Chiba, Japan, Leonard Pearlstein Gallery, Philadelphia, U.S.A, Asian Library, University of British Columbia, Vancouver, Canada, XC. HuA Gallery, Berlin, Germany, Migrant Bird Space, Berlin, Germany, FLUC Art Space, Vienna, Austria and many other art institutions; public collections include Minsheng Modern Art Museum, Central Academy of Fine Arts, Whitebox Art Center, Today Art Museum, Being3 Art Foundation and other institutions.
b. 1962, Daqing, Heilongjiang Province, China
Yue Minjun is one of the leading figures of Chinese contemporary art and internationally renowned artist. He currently lives and works in Beijing, China. Yue Minjun had been creating this exaggerated “Self-image” since the beginning of the 1990s. And in recent years, this image has been used in the field of sculpture and printmaking. Sometimes “it” appears independently, or collectively. “It” closes its eyes and laughs grinningly; with dramatic gestures and confidence.
He became the cover story of Time magazine in 2007, and nominated as one of the “Person of the Year 2007 - People Who Mattered”, on the list of the five award winners, there were Putin, Barack Obama and Hilary Clinton etc., Yue Minjun was the only Chinese, and only artist who had been nominated, Time described Yue Minjun as: “If you think China has a close relationship with the current and future status of the world, then this is the man to paint China”.
On the other hand, Yue Minjun’s artworks have been collected by domestic and foreign art institutions, galleries and museums. For example, San Francisco Museum of Modern Art, Denver Art Museum, The Culture Centre of Francois Mitterrand, Busan Museum of Art, Guangdong Museum of Art, Shenzhen Art Museum and other important institutions have all brought Yue’s works into their permanent collections.
Since participated in the 48th Venice Biennale in 1999, Yue had been invited as one of the regular contemporary Chinese artists in every Venice Biennale, which demonstrates his profound artistic contribution, and his distinctive artistic characteristics have established the non-negligible importance in contemporary Chinese art and the world stage.
Selected Exhibition include ”Yue Minjun in Gwangju”, Gwangju Art Museum, Gwangju, Korea, 2022; ”Yue Minjun: Smile at the Flower Sermon”, Tang Contemporary Art, Hong Kong, China.
b.1982, Xinjiang, China
Zhao Zhao graduated from the Xinjiang Institute of the Arts in 2003 and later attended the Beijing Film Academy. Now he is regarded a significant figure among the young Post-80s generation of contemporary Chinese artists – Zhao Zhao’s work is often associated with anti-authoritarian or non-conformist tendencies, renowned for confronting existing ideological structures and exercising the power of individual free will in his work.
His recent solo exhibitions include “A Long Day”, Macau, China; “Parallel Affinity”, Tang Contemporary Art, Seoul, Korea, 2022; “City of Sky”, Tang Contemporary Art, Bangkok, Thailand, 2022; “Zhao Zhao”, Long Museum, Shanghai, China; “Zhao Zhao”, Tang Contemporary Art, Beijing, 2021; “White”, Tang Contemporary Art, Beijing, 2020; “Green”, Song Art Museum, Beijing, 2019; “In Extremis”, Tang Contemporary Art, Beijing, 2018; “One Second · One Year”, Tang Contemporary Art, Hong Kong, China, 2018; “Desert Camel”, Tang Contemporary Art, Beijing, China, 2017; “Desert Below A Constellation in the Sky”, Tang Contemporary Art, Beijing, China, 2017; Project Taklamakan in Xinjiang, Tang Contemporary Art, Hong Kong, China, 2017; “Zhao Zhao”, Tang Contemporary Art, Beijing, China, 2016; A Sense of Security, Tang Contemporary Art, Hong Kong, China, 2016.
His recent group exhibitions include Echo Among Geographies, Tang Contemporary Art, Hong Kong, 2020; AND NOW. The second decade of the White Rabbit Collection, White Rabbit Gallery, Sydney, 2020-2021; A Fairy Tale in Red Times: Works from the White Rabbit Collection, NGV, Melbourne, Australia, 2019; In Extremis – Art Basel Hong Kong Encounters Project, Tang Contemporary Art, Hong Kong, 2019; Islands, Constellations and Galapagos, The Sixth Edition of the Yokohama Triennale, Yokohama, 2017, The Exhibition of Annual of Contemporary Art of China 2016, Beijing Minsheng Art Museum, Beijing, 2017, Post-sense Sensibility: Trepidation and Will, Shanghai Ming Contemporary Art Museum, Shanghai, 2017, Post-sense Sensibility: Trepidation and Will, Beijing Minsheng Art Museum, Beijing, 2016, Everyday Legend, Minsheng Art Museum, Shanghai, 2016; Spirit, PAC PADIGLIONE D‘ARTE CONTEMPORANEA, Milan, 2015; ZERO TOLERANCE, MoMA PS1, New York, 2014.
His provocative, multidisciplinary artistic practice has garnered him international attention in recent years with critically-acclaimed exhibitions across China, North America and Europe as an ‘artist to watch’. In 2017, the artist won the “Young Artist of the Year” of AAC, Award of Art China.
b. 1954, Beijing, China
Zhu Jinshi produces abstract paintings whose surfaces are built up with thick, near-sculptural layers of oil paint. Resembling colorful landscapes, Zhu’s images range in palette and scale, but the artist is known to always apply his oil paint with spatulas and shovels. Producing dense lashings of color, the artist’s method recalls the style and techniques espoused by the German Expressionists, who Zhu was profoundly influenced by during his years living in Berlin. Zhu belonged to a group of Chinese avant-garde artists named the Stars, which formed in 1979 to challenge aesthetic conventions and exhibit their work publicly.
Zhu Jinshi is a pioneer of Chinese abstract art and installation art. At present, he lives and works in Beijing. Zhu’s major solo exhibitions include Accidental Aesthetics, Tang Contemporary Art, Seoul , 2022; Li Bai’s Snow, Tang Contemporary Art, Hong Kong , 2020; “Wood · Character” , 2020, Fusion Art Center, Beijing, China; The Ship of Time / Rejecting River Currents , 2018, Tang Contemporary Art, Beijing, China; Zhu Jinshi , 2016, Yuan Art Museum, Beijing, China; Performance in Paint: Zhu Jinshi , 2015, Inside-Out Art Museum, Beijing, China. His major group shows include “TRILOGY OF CONTEMPORARY ART IN CHINA: The Scar” , 2020-2021, Busan Museum of Art, Busan, Korea; “AND NOW. The second decade of the White Rabbit Collection” , 2020-2021, White Rabbit Gallery, Sydney; “Ways of Working: Artists’ Time, Space and Body” , 2020, One Art Museum, Beijing; The Allure of Matter: Material Art from China , 2019, Los Angeles County Museum of Art, Los Angeles, USA；Abstract and Beyond—The Research Exhibition of Abstract Art in China , 2016, Minsheng Art Museum, Shanghai, China; 28 Chinese , 2013, The Rubell Family Collection, Miami, USA; The 5th Shanghai Biennale: Hyper Design , 2006, Shanghai Art Museum, Shanghai, China; Orient/Ation, 4th International Istanbul Biennial in Turkey , 1995, Istanbul, Turkey; Chinese Avant-Garde Art , 1993, Palace of World Culture, Berlin, Germany; The 2nd Xing Xing , Stars Group Exhibition , 1980, National Art Museum of China, Beijing, China.
Zhu Jinshi’s works have been collected internationally by notable public and private collections：Allison and Warren Kander, USA; Asian Art Museum of San Francisco, San Francisco, USA; Basma Al Sulaiman Museum of Contemporary Art, Saudi Arabia; Brooklyn Museum, New York, USA; Busan Museum of Art, South Korea; Dean Valentine Collection, USA; Delphine Arnault, France; Deutsche Bank, Germany; East West Bank, USA; Fubon Art Foundation, Taipei, Taiwan; Inside-Out Art Museum, Beijing, China; Mario Testino, UK; Minsheng Museum, Shanghai, China; M+ Museum for Visual Culture, Hong Kong, China; National Museum of Contemporary Art, Seoul, South Korea; Picasso Foundation, Málaga, Spain; Rubell Family Collection, Miami, USA; Song Museum, Beijing, China; The Guangdong Museum of Art, Guangzhou, China; The Schaufler Collection, Sindelfingen, Germany; The National Gallery of Victoria, Melbourne, Australia; Today Art Museum, Beijing, China; Vancouver Art Gallery, Vancouver, Canada; Wall Art Gallery, Beijing, China; White Rabbit Collection, Sydney, Australia.