第∞号房间—已在此停留3287天”——在3画廊特别艺术项目 Room ∞ – Having Resided Here for 3287 Days – A Special Art Project by Being 3 Gallery

Room ∞ – Having Resided Here for 3287 Days
Mianbu

Curatorial Statement

Artists Fang Er (Taipei), Lü Mei (New York), Modge (Xilingol, Inner Mongolia), Qin Xiujuan, and Wang He have each dedicated over 3287 days (nine years) to their creative practice. Having collaborated with most of them for more than 3287 days myself, we collectively construct an artistic time machine exploring the essence of existence within the symbol of infinity (∞). Their works are not only precipitations of personal life experiences but also contemporary interpretations of the philosophical proposition of "eternal recurrence."

Fang Er, an artist graduated from Central Saint Martins College of Art and Design in London, UK, has long examined the relationships between urban culture, social changes, and individual identity through the perspectives and methodologies of visual culture. She presents her latest AI-generated artworks, where algorithms reconstruct a surrealist digital art ecosystem. Her style transfer algorithms reimagine Rembrandt-esque classical still-life flowers; the "Phantom Moss Mambo" series, woven from data streams with binary rhizomes and quantum petals, blurs the creative subjectivity between humans and machines, sparking philosophical debates on originality and the essence of art. Fang Er’s parametric aesthetics, irreproducible randomness, and the delicate virtual embodiment she bestows upon data are reshaping the definitional dimensions of contemporary art. As viewers gaze upon these plant species unseen in any botanical atlas, each unfamiliar yet vivid organism enacts the poetics of life in the post-human era.

Lü Mei, an artist traversing New York and Beijing, whose suitcase has crossed vast global landscapes, brings lyrical color expressions that whisper like intimate companions—echoing Kandinsky’s assertion that "color screams." Her practice transforms New York’s nostalgia and the glitz of the social arena into lyrical manifestos of post-abstract expressionism. Her de Kooning-esque brushstrokes and Munch-like emotional tension leave traces of cross-cultural trauma and ecstasy on rice paper. These works are not only visual extensions of Lü Mei’s artistic spirit but also multi-faceted dialogues on individual identity within the context of globalization. This summer, she even playfully engages with Picasso through Chinese ink wash.

Modge, an artist hailing from the Xilingol Grasslands in Inner Mongolia, invites us to witness a spatial-temporal archaeology of everyday poetics. With a pure heart and painting knives as her archaeological tools, she excavates glimmers of existentialism from fragments of daily life on the Xilingol Grasslands. Her expressionist-influenced brushwork and compositions elevate the warmth of mother-child bonds and the ritualism of dining tables into a contemporary epic of nomadic civilization. Her warm canvases serve as frozen time capsules, preserving eternal moments of collision between modernity and tradition. Amidst the green expanse of the grasslands, her radiant color palette—innocent yet powerful—exudes the joyous vitality reminiscent of Matisse.

Qin Xiujuan, a graduate of Tianjin Academy of Fine Arts under the mentorship of renowned artist Li Jin, seamlessly integrates her superb technical skills with celebrations of the world and life, founding the "everyday sensory school" of ink wash lyricism. She transforms colors into ink nuances, breaking free from traditional brush techniques in her Girl series to construct sensory abstraction through the freehand fluidity of water and lines. Her works dissolve narrativity, conveying modern female spirit through the rhythmic spontaneity of brush and ink—embodying what Li Jin describes as "not crafting, but writing temperature." This poetic mastery of contingency elevates ink wash from a representational medium to a contemporary translation of emotional ontology.

Wang He (also known as Lüdou), a Beijing-based artist, is an unapologetic fairy-tale surrealist. Her works and exhibitions consistently embody her values and creativity through abundant, unexpected fantasies. In some series, she has forged a distinct visual language—such as Hugs, where delicate brushstrokes build layers to create rich imagery; in others, she summons representatives from the spirit world or reorganizes reality through an animal kingdom, as seen in her handcrafted ceramic sculptures. This whimsical practitioner of nature-inspired art has, over nearly twice 3287 days of creation, presented visual fables infused with fairy-tale philosophy—quirky, endearing, and worldly—constantly summoning the childlike spirit forgotten by the adult world.

Over 3287 days, this Room ∞ has continued to evolve:

• Fang Er’s electronic moss blooms with the future in the cracks of existence;
• Lü Mei’s ink wash permeates the pages of art history with self-affirming power;
• The texture of Modge’s oil paintings overflows the boundaries of daily life;
• Qin Xiujuan’s sensory ink wash lyricizes the inner self and everyday life;
• Wang He’s ethereal imagery elevates fairy tales into ecological parables.

There is no physical exit here, for the ultimate freedom of art resides in the eternal dialogue between paint, code, and everyday objects. As viewers complete this 3287-second immersive experience, they may suddenly realize: each of us resides in this Room ∞, marking the time, emotions, and journeys of our existence in our own unique ways.

Curator: MianbuSeptember 2025