The title of this exhibition, "Shan-Ru/Jade," stems from the expectations and implications embedded in the act of "naming." By juxtaposing these two monikers, the artist explores how identity is shaped by external forces. "Shan-Ru" (山如)—a homophone for the name bestowed upon the artist's mother following her marriage—reflects traditional projections of female submissiveness. Conversely, "Jade" (碧玉) serves as a label the artist bore due to a gender expression that diverged from mainstream expectations. Both names represent the way external narratives can smudge or overwrite one's original character.

During a residency in Kaohsiung, the artist returned to his maternal ancestral home. While navigating local fabric districts, he became captivated by the ubiquitous awnings lining the streets. These ephemeral structures, composed of haphazardly tied textiles and layered frames, manifest an organic sense of "wild proliferation." Through a series of fabric and paper sculptures, the exhibition captures the dual nature of these awnings—simultaneously structural and fragile—analogizing them to human gestures. Resembling semi-open walls or forms folding in the wind, these works seek to reimagine the body’s limitations, co-constructions, and potential survival strategies within the shifting boundaries of space.

Special Thanks: This exhibition is made possible with the support of the Office for Contemporary Art Norway (OCA) and the assistance of the Pier-2 Artist-in-Residence (PAIR) team. The artist also extends his sincere gratitude to artists Luo Jr-Shin and Chen Chih-Hsien for their professional support, as well as the fabric store elders and friends in Kaohsiung who generously shared their lived experiences and local knowledge.