When Blurry Memories Awaken

Our physical presence is a vessel of our own experiences, shaped and sustained by the totality of our memories. Every recollection constructs the architecture of our present self. Yet when we turn back toward the past, memory always appears in flux — both near and distant, shadow-like yet illusory. Blurry memory is not simply a residue of forgetting, but the inherent form through which memory exists. It reveals how our perception of the past is continuously defined by processes of layering, fading, and reconstruction.

In remembering, the distinction between objectivity and subjectivity begins to dissolve. Memory no longer reproduces fact; it becomes an act of re-creation, woven from perception, emotion, and imagination. The exhibition resists medium-based categorisation in favour of perceptual proximity. Painting, photography, and object-based works are placed in dialogue through shared concerns with surface, transparency, repetition, and trace.

Ruoyu Gong uses personal symbolism to explore psychological interiority and emotional perception. Sharon Cheuk Wun Lee works across photography, video, and installation, examining memory, historical rupture, and mediated vision through archival and cartographic approaches. Jingyi Zhang works with layered textures to explore perception through natural metaphors. Haidong Yang employs the photobook as a narrative and temporal structure to investigate alternative viewpoints and everyday power relations. Xinzi Luo works across painting, sculpture, and socially engaged practice, exploring utopian imagination and relational community structures. Hafsa Nouman examines memory, desire, and colonial histories through spatial thresholds, material surfaces, and embodied gestures in painting. Wandi Ni creates multi-panel paintings that reflect on shared memory between humans and non-humans, rooted in land, time, and ecological continuity.