Group Exhibition
Forms of Gentle Thoughts
2026.06.27 - 07.27
Curated by Junyao Chen
Group Exhibition "Forms of Gentle Thoughts" opened at Triumph Gallery on June 27, 2026. Curated by Chen Junyao, the exhibition presents over twenty works by nine artists: Liu Runping, Liu Shunjia, Liu Yucen, Qian Qian, Tan Tan, Wu Linghao, Xu Suyi, Yuan Haiyu, and Zhu Ziwei. The show runs through July 27.
Liu Runping
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Liu Shunjia
Liu Shunjia was born in 1995 in Ziyang, Sichuan Province, and currently lives and works in Chongqing. She graduated from the School of Handicraft of Sichuan Fine Arts Institute with a major in Arts and Crafts in 2019 and from the School of Design of Sichuan Fine Arts Institute with a major in Hand Art Practice in 2024.
Liu Shunjia focuses on vitality as the core theme, exploring the profound and intimate connection between humanity and nature. She uses the unique warm texture and mottled surface of lacquer to present an ancient Eastern visual language. Inspired by nature, her works intertwine freely flowing vine-like lines, delicate dotted textures, and spontaneous brushstrokes to create rich layers. These elements symbolize the inner surge and unyielding resilience of life, while also using plant forms to reveal the growth and unfurling of life, reflecting the gentle yet firm, tension-filled essence of vitality.
Liu Shunjia focuses on vitality as the core theme, exploring the profound and intimate connection between humanity and nature. She uses the unique warm texture and mottled surface of lacquer to present an ancient Eastern visual language. Inspired by nature, her works intertwine freely flowing vine-like lines, delicate dotted textures, and spontaneous brushstrokes to create rich layers. These elements symbolize the inner surge and unyielding resilience of life, while also using plant forms to reveal the growth and unfurling of life, reflecting the gentle yet firm, tension-filled essence of vitality.
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Liu Yucen
Liu Yucen, born in Xi'an, China in 2000, currently lives and works between Shanghai and London. She graduated from RMIT University (Royal Melbourne Institute of Technology) and the Royal College of Art in London (sculpture track).
Liu Yucen is a sculptural artist with a background in architecture, now based in Shanghai. Her artistic practice is rooted in experiences of migration, memory fragments, and identity construction, and has long revolved around the fluid, polysemic concept of "home." Growing up in the compound of a power plant in Northwest China during her childhood, and later following a life of frequent relocation, she has maintained an ambiguous yet profound perception of home and space. Through sculpture and installation, she explores the traces of overlooked objects within domestic environments, activating the emotional tension of everyday items through processes of dismantling and reconstruction, allowing space itself to become a narrator of memory.
She is deeply attentive to the intrinsic language and perceptual energy of materials, emphasizing a critical state of "material utterance"—preferring to let materials detach from human agency, generating, transforming, and expressing themselves on site. For her, materials are not merely vehicles of form but also subjects of memory and identity. She establishes an oscillating spatial tension between stability and imbalance, presence and absence. Her works are not just visual presentations but narratives within space, inviting viewers to reflect on the relationship between personal and collective memory, as well as space and identity. In continually questioning function and structure, she explores how migratory experiences shape our sense of belonging and cultural identity.
Liu Yucen is a sculptural artist with a background in architecture, now based in Shanghai. Her artistic practice is rooted in experiences of migration, memory fragments, and identity construction, and has long revolved around the fluid, polysemic concept of "home." Growing up in the compound of a power plant in Northwest China during her childhood, and later following a life of frequent relocation, she has maintained an ambiguous yet profound perception of home and space. Through sculpture and installation, she explores the traces of overlooked objects within domestic environments, activating the emotional tension of everyday items through processes of dismantling and reconstruction, allowing space itself to become a narrator of memory.
She is deeply attentive to the intrinsic language and perceptual energy of materials, emphasizing a critical state of "material utterance"—preferring to let materials detach from human agency, generating, transforming, and expressing themselves on site. For her, materials are not merely vehicles of form but also subjects of memory and identity. She establishes an oscillating spatial tension between stability and imbalance, presence and absence. Her works are not just visual presentations but narratives within space, inviting viewers to reflect on the relationship between personal and collective memory, as well as space and identity. In continually questioning function and structure, she explores how migratory experiences shape our sense of belonging and cultural identity.
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Qian Qian
Qian Qian, born in 1990 in Jiangxi, China, received her MFA in Fine Arts from Goldsmiths, University of London in 2018. She now lives and works in Moray, Scotland. She is a cross-media artist, poet, and mother, working across watercolor, oil painting, and interactive installation, and has developed a practice she terms "Ecomythicism." Her work constructs reimagined ecologies, using the scientific logic of change and mythological narrative structures as metaphors that bridge the external world and internal perception.
In her painting practice, Qian Qian employs watercolor and water-soluble oil paints experimentally, combining them with other materials on paper and linen. Hybrid portraits, unconscious structures, electromagnetic waves, and fissures recur throughout her work, forming a complex visual language in which precise systems coexist with organic erosion. Through these processes, she explores the mutation and evolution of organic and inorganic systems.
Qian Qian further extends Ecomythicism into the public realm through participatory installations, transforming physical contact into perceptual and symbolic experience. In People Should Listen to the Birds Flying, she uses everyday conductive materials such as aluminum foil tape and copper coils, making touch a physical trigger that activates sound and memory. Her ongoing project The Book of Life continues this approach, inviting public narration of personal stories of "birth" and transforming individual experiences into collective symbol-making.
In her painting practice, Qian Qian employs watercolor and water-soluble oil paints experimentally, combining them with other materials on paper and linen. Hybrid portraits, unconscious structures, electromagnetic waves, and fissures recur throughout her work, forming a complex visual language in which precise systems coexist with organic erosion. Through these processes, she explores the mutation and evolution of organic and inorganic systems.
Qian Qian further extends Ecomythicism into the public realm through participatory installations, transforming physical contact into perceptual and symbolic experience. In People Should Listen to the Birds Flying, she uses everyday conductive materials such as aluminum foil tape and copper coils, making touch a physical trigger that activates sound and memory. Her ongoing project The Book of Life continues this approach, inviting public narration of personal stories of "birth" and transforming individual experiences into collective symbol-making.
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Tan Tan
Tan Tan, born in Beijing in 1990, currently lives and works in Beijing. She graduated from the Printmaking Department of the Central Academy of Fine Arts and the Book Arts program at Camberwell College of Arts, University of the Arts London, and now teaches in the Printmaking Department of the Central Academy of Fine Arts.
Tan Tan never creates imaginary images out of thin air, because in her view, imaginary things are all logical and predictable; only the unknown existing in the real world is more astonishing. She has been observing the real world, but the things themselves are unimportant—things in her eyes are pure forms, and form is where her interest lies.
Tan Tan never creates imaginary images out of thin air, because in her view, imaginary things are all logical and predictable; only the unknown existing in the real world is more astonishing. She has been observing the real world, but the things themselves are unimportant—things in her eyes are pure forms, and form is where her interest lies.
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Wu Linghao
Wu Linghao, born in Fuzhou, Fujian in 1997, currently lives in Shanghai. He graduated from the Oil Painting Department of Tianjin Academy of Fine Arts in 2020. His practice concerns the condition of the individual within the era, intertwining personal experience with grand narratives. Taking East Asia's "compressed modernity" as a point of departure, individuals and family, the body and the city, and the specters of everyday life and history all become sources of inspiration for his work. By connecting memory and imagination, ritual becomes a means of reconnecting the individual, allowing the past, present, and future to wrestle with one another within his works.
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XU SUYI
Xu Suyi is an artist currently based in Brooklyn, New York. She received her BA in Art History and Visual Arts from Barnard College (New York) and graduated with an MFA from the School of Visual Arts (SVA) in 2022. Xu Suyi's paintings take space, interior environments, and architecture as a meditative starting point, gradually transforming into explorations and reflections on light and color fields.
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Yuan Haiyu
Yuan Haiyu, born in Nanjing, China in 1996, received his BA in Fine Arts from Jiangnan University in 2018 and his MFA in Painting from the Royal College of Art in 2020. He now lives and works in Shenzhen, China. Rooted in autobiographical narrative and surrealist composition, Yuan Haiyu's paintings appropriate post-body imagery and reconstruct individual memory to examine and present the human condition within the context of the post-digital era.
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Zhu Ziwei
Zhu Ziwei was born in 1997 in Yichang, Hubei Province, China. She attended the Fine Arts School Affiliated to China Central Academy of Fine Arts from 2012-2016, graduated from the Central Academy of Fine Arts from with a BFA in 2020, and graduated from the Central Academy of Fine Arts with an MA in 2023, and currently lives and works in Beijing.
Zhu Ziwei’s artistic practice functions as a kinetic textual spectrometer, transmuting literary radiations into undulating celluloid visions. Those latent tremors embedded in feminine écriture—the drifting whalebones from Tokarczuk’s mythoscapes, the convulsive pendulums in Plath’s confessional verse, the sanguine vascular systems within Han Kang’s botanical metaphors—undergo chromatic decryption through her brush, emerging as novelistic climaxes rendered in chromatographic revelations. Thus transfigured, the stratified textures construct archaeological theaters of memory, while abraded brushstrokes index emotional micro-fragments, and ruptured edges expose cognitive rifts of the subconscious.
The artist inherits the Pre-Raphaelites’ devotional approach to literature, weaving pictorial lexicons into constellations of metaphor. As the gaze navigates between abstract color fields and figurative fragments, the warp and weft of cognition quietly spin a new web of significance—Proustian epiphanies materializing like madeleines of memory dissolving into retinal afterglow. These textual stardust particles suspended above pigment swamps constitute both clandestine dialogues with literary precursors and relentless probes into visual potentiality. During protracted moments of contemplation, when symbolic nebulae within the canvas begin their celestial rotation, the conversation between painting and literature persists eternally—yet Zhu Ziwei seeks her own grammatical whispers within the folds of spacetime.
Zhu Ziwei’s artistic practice functions as a kinetic textual spectrometer, transmuting literary radiations into undulating celluloid visions. Those latent tremors embedded in feminine écriture—the drifting whalebones from Tokarczuk’s mythoscapes, the convulsive pendulums in Plath’s confessional verse, the sanguine vascular systems within Han Kang’s botanical metaphors—undergo chromatic decryption through her brush, emerging as novelistic climaxes rendered in chromatographic revelations. Thus transfigured, the stratified textures construct archaeological theaters of memory, while abraded brushstrokes index emotional micro-fragments, and ruptured edges expose cognitive rifts of the subconscious.
The artist inherits the Pre-Raphaelites’ devotional approach to literature, weaving pictorial lexicons into constellations of metaphor. As the gaze navigates between abstract color fields and figurative fragments, the warp and weft of cognition quietly spin a new web of significance—Proustian epiphanies materializing like madeleines of memory dissolving into retinal afterglow. These textual stardust particles suspended above pigment swamps constitute both clandestine dialogues with literary precursors and relentless probes into visual potentiality. During protracted moments of contemplation, when symbolic nebulae within the canvas begin their celestial rotation, the conversation between painting and literature persists eternally—yet Zhu Ziwei seeks her own grammatical whispers within the folds of spacetime.
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Curator
Curator
Junyao Chen
Junyao Chen is an independent curator and visiting research fellow at the Institute of Cultural and Creative Industry (ICCI), Shanghai Jiaotong University, whose curatorial practice and research explore the intersection of the politics of space, digital media’s publicness, and cultural landscapes in public spaces. His curatorial approach bridges design and communication to create innovative, interdisciplinary projects that have gained international recognition.