ss space space is pleased to announce its first-anniversary group exhibition, titled '𝙈𝙤𝙫𝙞𝙣𝙜 𝙈𝙚𝙩𝙖𝙥𝙝𝙤𝙧𝙨: 𝙍𝙚𝙢𝙖𝙥𝙥𝙞𝙣𝙜 𝙈𝙤𝙤𝙧𝙞𝙣𝙜𝙨.' This exhibition features the works of artists Amba Sayal-Bennett, Nai-Jen Yang, Sean Tseng, and Te-Yu Wang. The exhibition comprises over twenty pieces, including sculptures, paintings, photographs, and site-specific installations, and aims to explore the fluidity between 'light' and 'heavy,' 'speed' and 'stillness,' and the manner in which elements intertwine and generate tension through movement. This exhibition extends the research initiated in last year's opening exhibition, ‘𝙈𝙤𝙫𝙞𝙣𝙜 𝙈𝙚𝙩𝙖𝙥𝙝𝙤𝙧𝙨: 𝙏𝙝𝙚 𝙂𝙚𝙣𝙚𝙨𝙞𝙨 𝙤𝙛 𝙖 𝙎𝙥𝙖𝙘𝙚,’ examining how artists carve out open fields for imagination through their works. It invites viewers to engage with the metaphorical spaces suggested by the works, reshaping their understanding of the world within the dynamic field of meaning construction.

In Amba Sayal-Bennett's work, she frequently investigates the movement of bodies, knowledge, and forms across various realms, employing materials, shapes, and colours as methods for abstract perception. Her recent pieces focus on the transformation of modernist forms, informed by studies of Fascist and Brutalist architecture. These works reflect the temporal and spatial dimensions and material applications suggested by architecture, challenging the once-unshakeable power and historical significance of these structures, and exploring the 'interpretive space' absent in homogeneous modernist environments. For the artist, this space is not merely a mediating, directional area but a field accommodating the flow of meaning.

In Nai-Jen Yang’s practice, she views the canvas as a 'translation of experience'. In her four exhibited paintings, she utilises rabbit skin glue as a base, deliberately preserving the canvas's natural colour and texture. Through gentle, repetitive brushstrokes, she delicately fills the canvas space. The artist endeavours to preserve exposed areas amidst layered applications, extracting nuanced qualities from the materials. This approach reflects Yang's contemplation on space and the canvas as a metaphor for accessing alternative realms.

The act of clearing or appropriating space allows the metaphors and narratives of things to interact between the vast and occupied spaces, opening up possibilities for dynamic spatial thinking. In Te-Yu Wang's installation works, she places extremely lightweight lines in the transitional 'public spaces' of the exhibition area. Through the viewers' movement and touch within the space, the works are subtly disturbed, sketching out the simultaneous presence of air, breeze, light, material texture, and gravity. The artist guides the flow of the on-site space and the body with minimal materials, allowing the existence of things to emerge from potential spaces in a serene yet highly tense manner.

In Sean Tseng's works, the body transcends its role as a mere container of space and time, actively engaging in the processes of creation and observation through perceptual guidance and spatial displacement. This interaction establishes new narrative starting points within the space. Tseng's practice often originates from the interplay between elements in the natural environment, engaging with them through bodily experiences. His recent works, encompassing sculptures and photography, meticulously capture specific moments in the natural environment, reflecting his exploration of spatial transformations and the rhythms of social time embedded within its various cadences. This presentation underscores the coherence of vitality amidst the tensions inherent in interactions between elements.

Imagining contemporary society as a structure composed of movements with varied rhythms, our bodies act as bridges between the subject and the world in social space. Reflecting on recent social and environmental changes, including post-pandemic reconstruction, the impacts of war, shifts in immigration policies, Brexit, the rise of authoritarian politics, climate change and refugees, the global community continually adjusts the rhythms of living spaces between motion and stillness, synchrony and asynchrony. This necessitates a reconsideration of our societal positions. The first-anniversary group exhibition, '𝙈𝙤𝙫𝙞𝙣𝙜 𝙈𝙚𝙩𝙖𝙥𝙝𝙤𝙧𝙨: 𝙍𝙚𝙢𝙖𝙥𝙥𝙞𝙣𝙜 𝙈𝙤𝙤𝙧𝙞𝙣𝙜𝙨,’ seeks to pose inquiries within this framework: In an era marked by human flux and challenges, how can we pause to reconstruct meaning and identity within the perpetual flow of time and space? How do we navigate new directions and perspectives in a complex and ever-evolving world?