2025 Three Shadows Unbounded Group Exhibition

The 2025 "Three Shadows Unbounded Group Exhibition" will feature works by 28 artists, selected from over 100 submissions. Adhering to the core concept of "Unbounded", the exhibition adopts an open and inclusive stance that balances artistic merit, intellectual depth, and execution quality of the works, encompassing diverse media such as photography, image installations, and painting. These works embody the artists' in-depth exploration of numerous themes in contemporary art and construct a pluralistic artistic scene that stimulates emotional resonance and intellectual collision among viewers.

 

In terms of media innovation and technical experimentation, artists have pushed beyond traditional boundaries. Taking "Pseudonym Portrait" as the core, Zhou Shiyu uses image-based installations (incorporating photographic paper, acrylic, etc.) and draws inspiration from Jorge Luis Borges' literature to explore the construction of images and consciousness. Lai Yuhua's "Anonymous Party" integrates photography with embroidery to investigate the fluidity of identity and changes in intimate relationships. Chen Yitong immerse film in liquids such as Fuzhou seawater, preserving sensory imprints of her hometown through chemical reactions. Zhang Wentao's "The Goddess of the Luo River: A Startling Dream" combines film with gold leaf powder and employs darkroom coloring techniques to recreate classical dreamscapes. Starting from printmaking, Liu Fengqi creates works with acrylic pastels and further expands into digital art, enabling a dialogue between painting and video.

 

Focusing on changes in living environments and observations of reality, the works reflect the landscape of the times. Zhan Tao's "Walking Across One Million RMB" scans urban floor tiles and contemplates emotional connections in urbanization through the accumulation of value. Chang Haoyu's photographs of Zhongshan Road in Shijiazhuang use shimmering gold leaf to point to the core of private and public memories. Zhong Qi's "Theater of the Yangtze River" takes the Yangtze River as a carrier to present the spiritual landscapes on both banks. Zhao Haiping's "Erosion" records the changes of resort hotels on a small island, reflecting the erosion of memory by consumption and time. He Yali's "Museum on the Street" captures street scenes in multiple cities with a mobile phone, turning ordinary floor tiles and wall corners into coincidental "image symphonies". Zheng Shuixing's "Resonance"  juxtaposes natural and modern elements to reflect on the balance between development and the environment. Liu Xiaobing's "Baicao Yuan" series uses staged photography to capture the connection between land and manufacturing. Liu Tongxin explores bird collision incidents in cities, combining scientific research papers and experimental reports to construct an image narrative that blurs the line between reality and simulation. Li Xia's "leaping Again" freezes daily landscapes to celebrate life and nature. Yan Chenming's "Melasma" captures slices of daily life, stripping away cultural codes to seek the essence of existence.

 

Meanwhile, other artists reflecting on the self and emotional connections, their works are filled with delicate warmth. Huang Ming's "Spirit" adopts animistic thinking to re-experience and observe the surrounding environment, revealing the unfamiliar potential spiritual power of familiar objects. Lakshmi Tang's "Her Warp and Weft: Textile Cartographies" documents immigrant women, using multiple media to manifest the imprints of their lives. Zheng Chen's "Bedtime Stories" involves interviewing villagers and taking portraits, exploring the cycle of life through their experiences of life and death. Zhu Jisheng's "Fringe Bloom" uses light and shadow fragments to depict the vulnerability and strength of self-dialogue in the dark. Wang Baizhen's "Die Ringe des Saturn" records lonely travels, weaving narratives of hometown and imagination. Linjie Fang uses photography with a fugue structure to deconstruct the fluidity and fragility of memory. Yu Nan's "When Will That Star Fade Out?" uses photography to recreate the personal experience of iridescent vision and persistence of vision. Longxi Vlessing's "Half of Love is Still Love" photographs Fujian families, showing the warmth of returning home and the differences between Chinese and Western families. Chen Ran's "The Weight of Transparency" translates the emotions of the times to explore the weight of life. Sun Mengchen's "Traces of Orbit" takes nature as the core to present her growth experience in the mountains and forests and her connection with nature. Yan Xinyi's "Yoiyami" captures the gap between impressions of places, exploring sensory experiences at ambiguous boundaries. Lzzy P. Li conducts "Self-Dialogue" through photographic practice, deconstructing her inner world in a poetic and emotional form.

 

Since its launch in January 2019, the Unbounded project has maintained an open call for submissions. It has systematically presented nearly 50 solo exhibitions and will host its 6th group exhibition this year. We are delighted to see that numerous creators are still actively and continuously expressing themselves and presenting their observations through various artistic media. The "Unbounded" project has always been committed to discovering diverse visual creations and providing a platform for artists of different styles and media to showcase their works. This exhibition is not only a concentrated presentation of the artistic practices of 28 artists, but also a dialogue across media, perspectives, and emotions. We sincerely hope that, with art as a link, we can continue the in-depth exploration of reality, memory, and self, promote communication and symbiosis among creators, and allow more viewers to find their own emotional resonance and thinking dimensions in the works.