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TWIN PEAKS:
20th Anniversary Art Exhibition
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Gregory Euclide

"Untitled"

Archival Hahnemuhle Photo Rag Paper
Edition 500; pencil signed and numbered
24 x 24 inches

800 GBP, unframed

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Federico Gallo

"La Petite Mort de Laura P."

Series of 4
Etching on Paper
20 x 10 cm

500 GBP, each piece

Deals with the inner experience of eroticism, pleasure and intense anguish. La petite mort, French for 'the little death', is an idiom and metaphor for orgasm. It can refer to the spiritual release that comes with orgasm or to a short period of melancholy or transcendence as a result of the expenditure of the 'life force', the feeling caused by the release of oxytocin in the brain after the occurrence of orgasm.

George Bataille sustained that the experience of transgression is indissociable from the consciousness of the constraint or prohibition it violates. In defying eroticism he explains that "Eroticism relates to a knowledge of the evil and the inevitability of death, it is not simply an expression of joyful passion."

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Javier Jaen

"Twin Peaks 20"

Limited Edition, 5; signed and numbered
Mixed Media
Gliclee print in Hahnemuhle Photo Rag Paper
70 x 100 cm

450 GBP, unframed

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Meng-Chai Lai

"The Stillness"

Mixed Media; 260 x 200 mm
Series of six images based on my memory of Twin Peaks


Woods, 600 GBP
Circle and Young Love, 2 pieces framed together, 500 GBP
Audrey, 500 GBP
Between, 500 GBP
Lake/Laura in plastic, 500 GBP (no image available)

Twin Peaks has brought a significant influence in my work. The relationships between families and friends in the series, the loneliness in each character and the eerie community has created a surreal atmosphere that has remained in me. It was so real it feels as if I was a transparent character in Twin Peaks, or if it had happened in my previous life.

A year since I first watched Twin Peaks and still the scenes or conversations often comes up in my mind. 'The Stillness' is a series of six paintings created from my memory, capturing the dreams of Twin Peaks that has stayed in my mind.

Bio

  • "Woods"

  • "Circle and Young Love"


  • "Audrey"

  • "Between"


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Will Maw

"Untitled"

Four prints
Archival inkjet on Somerset Satin 310 gsm, screenprint varnish
Image size, 54 x 45 cm / paper size, 63.7 x 56 cm
Limited Edition, 10; pencil signed


Untitled x 4 (Photo/Lodge/Ring/Fan)
450 GBP, each print, unframed
550 GBP, each print, framed

The works revolve around key moments in the story using multiple film stills from old CRT television screens as well as recurrent iconic images that feature throughout the series and the film. As conventional collage the four pieces draw together many images, simultaneously conflicting and co-existing, possibly reflecting something of the myriad of threads running through Twin Peaks; the dark, sexual and violent undercurrents, never far from the surface, at odds with the apparent serenity of the landscape and innocence of the protagonists.

Bio

  • "Photo"

  • "Lodge"

  • "Ring"

  • "Fan"


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Yasuhiro Onishi

"Agent Cooper", "Laura Palmer", "BOB", "Sheriff", "Windom Earl"

Series of 5 'small size paintings'
Acrylics on MDF
13 x 10 cm

590 GBP, each

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Gordon W Robertson

I have always admired David Lynch, so I was delighted to be invited to contribute. I have produced two major pewter pieces for it, inspired by the notorious Red Room dream sequence. The tray replicates the patterned floor from the scene, while subliminally embedding the legend Lets Rock – the words which open the dialogue. The tray is displayed on a stand concealed within red velvet curtains; on opening these an etched copper shelf with an image of Saturn is revealed, again using one of Lynch's integral motifs.

The Charger-tray again replicates the patterned floor, and the Prints use all the elements from the scene.

I am trying to evoke a ludic idea of the scene, one resonant with Lynchian properties yet not nostalgic, instead taking his peculiar visions as an initial stimulant for my own creative process.

Bio

  • "Kcor Ste"

    Media – Etched and press formed pewter
    Size – 450 mm Diameter
    Edition, 5

    950 GBP

  • "Red Laura"

    Media – Giclee print on Somerset Fine Art Paper
    Size – 700 x 700 mm
    Edition, 12

    330 GBP, unframed/450 GBP, framed

  • "The Red Room"

    Media – Giclee print on Somerset Fine Art Paper
    Size – 700 x 700 mm
    Edition, 12

    330 GBP, unframed/450 GBP, framed

  • "Lets Rock"

    Media – Etched patinated and press formed Pewter Charger-tray (350 x 400 mm), copper stand, etched copper shelf (340 x 300 mm), red velvet drapes, silk crepe satin and laminate print, height 640 mm
    One-off piece.

    2,500 GBP

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Peter Russell

I approached the exhibition piece from the standpoint of my initial celebration of Twin Peaks as a cult anti-soap, bringing that weirdness characteristic of Lynch movies from Erazerhead onwards. It ensnared me in its narrative. Its Technicolor brilliance demanded deep glazed opposite sky blues and vermilion; its night shadow forest black.

Laura, the absent focus, drew comparison with the impossible perfection of Barbie, subject of several works of mine relating to US foreign policy – prom queen head of school on one hand, drug-crazed nymphomaniac on the other. The Twin Peaks community, a seeming model of Montana hospitality, concealed so many secret liaisons, Agent Cooper would lead the charge to lift off the roof. My work takes this figuration as its starting point.

The extravagance of descent into red and black in the two panels is an attempt to contrast the sensual character of Laura's “Invitation to Love” (unlike the electric blue cast of the background TV soap), and the “Falling” theme, which has far darker consequences.

Assemblage and collage are very much my stock-in-trade, with Dada intent on “things” rather than painterly illusion, emphasising physicality and texture over filmic realism.

Bio


"L'Aura: Flame/Ash"

Mixed Media Diptych Panels: Ripped clothes; Grit; Sand; Ash; Metal; Polythene; Collaged laser-copied photographic images, positive and reverse, of disfigured Barbies; PVA adhesive; Stick-on letters; ransom-note letters; Graphite; Pastels/oil pastels; Acrylic paint; PVA glazes; Oil glazes; retouching varnish.

32 x 48 inches (80 x 120 cm)

1,300 GBP

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Chris Saunders

"David Lynch, 2007, London, UK"

C-type print; Edition, 25; signed
20 x 16 inches

650 GBP

Bio

Chris Saunders

"Mark Frost, 1992, Manchester, UK"

C-type print; Edition, 25; signed
20 x 16 inches

400 GBP


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Hiram To

"Handcut Sandy (2011, 2012 TwinPeaks version)"

Ink on plywood
127 x 84 cm
One-off piece; will never be realised or sold again.

The artist Hiram To has generously offered to donate his artist's net proceeds from the sale of this piece to the David Lynch Foundation.

5,000 GBP

Originally realised with the help of photographer Dennis Yong for the Harper's Bazaar Hong Kong magazine project and exhibition Canto 6, Handcut Sandy features acclaimed Hong Kong vocalist Sandy Lam in a tableaux on the theme of religion in songs. The starting point of the image was to recast Lam in the role of Sandy in Grease, with its setting relocated to Twin Peaks.

Sandy Lam is seen in a wood-panelled music room holding a scalpel, attempting to re-carve the grooves onto a cracked vinyl record. The label of the disc depicts the Capitol Records Building in Los Angeles, a reference to a dream I once had of flying around the tower. The belief in change, intervention and reinvention of the human desire to correct the past underlies this work.

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Lizzie Vickery

The mysterious antics of Twin Peaks revolves around oppositional forces of comedic mastery and horrific mystery. The duality of these conflicting sensations is expressed in two photographs depicting both humorous situational malarkey and passionate, saturated narratives. Both photographs, taken on a 5 x 4 film camera illustrate the liquid state of objects and imagery, the anticipation and worship of a moment encapsulated within the picture plane.

Bio

  • "Untitled (Vorvacious Ghost)"

    C-type print; framed Mirograd AR glass
    Edition, 1/3 + AP
    40 x 50 inches

    1,900 GBP

  • "Fiery Drapes"

    C-type print; framed Mirograd AR glass
    Edition, 1/3 + AP
    40 x 50 inches

    1,900 GBP


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Paul Willoughby

"Laura", "Audrey", "Donna", "Jocelyn"

Series of 4
Medium: Postcard, ink
9 x 14 cm

All four pieces SOLD

My Postcard drawings explore a common thread between time, environment, character and ephemera.

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Wu Xiaohai

The symbolism of Wu's preferred medium, charcoal, is potent, undergoing a huge material transformation as it does through its aggressive process of extraction. Obtained by combustion of wood, coal, peat, and various other high carbon content substances, the raw material is subjected to extreme temperatures to remove all moisture and non carbon materials. The resulting substances of charcoal in compressed form is hard and brittle. Artist's (uncompressed) charcoal has a more extreme passage into being, coming as it does from the willow tree, fast growing and lover of water. The strong mutation from soft and supple substance to hard, resilient tool is an appropriate analogy for the creations of artist Wu Xiaohai (who uses a variety of charcoals, including those he makes himself from fireworks). The transformed quality of the artist's charcoal tool echoes the viewer's metamorphosed experience of entering Wu's subconscious dream-world while conscious. This is reinforced by the properties of charcoal, simultaneously offering an effect akin to grisaille in painting, imitative of the sculpted three dimensional, but also a nebulous atmosphere of uncertainty. Wu's hazy explorations of the interaction of the individual to their environment and with other individuals, at times within the context of claustrophobic socio-cultural mores, at times a transitional world that hovers between adult reckoning and childhood imagining, seems most suited in his choice to the medium of charcoal.

Bio

  • "Fresh Space"

    Charcoal on Paper; 2012
    59 x 84 cm

    3,250 GBP

  • "Untitled"

    Charcoal on Paper; 2012
    59 x 84 cm

    3,250 GBP


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Gregory Euclide

Gregory Euclide is an artist and teacher living in the Minnesota River Valley. His work has recently been featured in Badlands: New Horizons in Landscape at MASS MoCA (2008-2009), Otherworldly at the Museum of Arts and Design in New York (2011), Small Worlds at the Toledo Museum of Art in Ohio (2011), and is currently on view in the solo exhibition Nature Out There, at the Nevada Museum of Art, through September 2012.

Euclide was awarded two Minnesota State Arts Board Artist Initiative Grants through the National Endowment for the Arts, and a Jerome Foundation Residency through the Blacklock Nature Sanctuary. In addition, he was a recipient of the 2011-12 Jerome Foundation Fellowships for Emerging Artists. Euclide received his MFA from the Minneapolis College of Art and Design.

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Federico Gallo

From Venice, Italy. Working & residing in London.
2008 Royal College of Art, London/MA Communication Art & Design
2004 The London Institute, London College of Communication/BA (Hons) Illustration

Selected Group Exhibitions:
Awards and Scholarships:
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Javier Jaen

Barcelona, 1983.

Graphic Artist. His professional activities have been focused on press illustration, book cover design and communication. His work is related to a symbolic language with double meanings. Looks for narrative scenarios and aesthetics in a daily context. Works and plays with everyday objects, images and words. He has worked for The New York Times, The Washington Post, El Pais, Random House Mondadori, Valor Brasil, and Unesco amongst others. He has participated in exhibitions in New York, London, Wem, Barcelona, Tallin and Rome.

The first time I saw Twin Peaks I was nine years old. I remember that I loved it, even if I did not understand a thing. I have stored in my memory the day when Leland Palmer's hair turns white suddenly, a lady speaking with a log, a pseudo-erotic universe, the recorder of Agent Cooper, the sawmill, and the white body of Laura Palmer wrapped in plastic. Images closely linked to strong emotions for the mind of a kid.

A few years ago I saw it again, still I didn't understand, but I liked it even more. I realised then that, perhaps I had with David Lynch my first date with the unknown, the inexplicable, the first human labyrinth, and a sage advice for adult life, nothing is what it seems.

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Meng-Chia Lai

Taiwan; work & residence in London.

2008 MA Communication Art & Design/Royal College of Art, London
2005 BA (Hons) Illustration/Cambridge School of Art Anglia Ruskin University, UK
1999 Fu-Hsin Trade and Arts School, Taiwan

Publications:

2009 Dusty Pink/pub. Café Royal, UK
2008 My Grandma Has Parkinson's Disease/pub. Parkinson's Disease Society, UK
2007 Oh!/pub. Edition Lirabelle, France
2006 Peebi Se Perd/Peebi Gets Lost/pub. Edition Lirabell, France

Exhibitions:

2010 A User's Manual: The Landscapes/Round The Corner, Teatro da Trindade, Lisbon
2010 Breath In Breath Out/A Terre Gallery, Osaka, Japan
2009 RCA Secret/Gulbenkian Galleries, Royal College of Art, London
2009 Association of Illustrators Image 33 Exhibition/London

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Will Maw

London, 1973.

1993 Glasgow School of Art; three month residency at School of Fine Art, Addis Ababa, Ethiopia. Residing in Glasgow, Scotland, until 2006, worked mainly at Glasgow Print Studio, exhibited nationally and internationally, curated print exhibitions globally and travelled widely including two government funded artists residencies in Arizona. 2000 Solo exhibition, Alliance Francais, Addis Ababa, Ethiopia.

2009 MA/Royal College of Art, London. Returned to Glasgow; Solo exhibition, Compass Gallery, Glasgow, 2009.

After fifteen years experience in print publishing workshops, Maw established an independent workshop to continue his own practice making artwork on paper as well as ongoing existing collaborations, including the resolution of the 'Pictosaurus' Archive, an extensive collection of 14,000 pages of collected and categorised images compiled by the late Charlie Riddell. Following the completion of the monumental Histoire Naturelle series of prints, he coined Fountainwell as a working name for the studio producing artists prints, books and works on paper including the provision of print services to photographers, designers and writers.

The creative work maintains a focus in exploring the diversity and multiplicity of printed media using collage and superimposition of often contradictory imagery. Increasingly the finished works have turned more towards books and manuscripts as documentary works, nurtured perhaps by a continuing contract with a conservation framers specialising in rare works on paper and fine prints from 17th to 20th century.

Maw's current artistic projects include a return to the large scale 'drawn' pieces of 2008/9, the latest catalogue of 27 inkjet prints, and the continuing publication of the Pictosaurus Archive with the recent rediscovery of its digital counterpart (some 38,000 images). Recent exhibitions include the Eagle Gallery 'Natural Histories' group show; Solo show, North House Gallery, and a permanent installation at The Hilton Green Park. The Histoire Naturelle Book was presented to Pallant House Gallery in 2011 by Mark Golder as part of the Golder-Thompson Gift, one of the finest collections of modern prints in the UK.

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Yasuhiro Onishi

Tokyo, Japan. Work and reside in London.

2010 Wimbledon College of Art.

Group Exhibitions:

2012 Coppers and Rubbers/Matthews Yard, London
2012 Creative Cities Collection 2012/Barbican Arts Centre, London
2012 City of Words, City of Stone/Islington Arts Factory, London
2012 Big Wheel/Construction Gallery, London
2010 On the Brink/SW1 Gallery, London

For sometime, my paintings were inspired by found photographs and newspaper articles. I used flat, bright artificial colours to emphasise the fictional elements of a story. New work continues to focus on the narrative, but with a greater degree of subtlety and realism. Colours are more restrained and landscapes hide subtle objects, suggesting a lost narrative.

I have a close affinity to the people and places in my paintings, even though they don't exist. There is still a feeling of loss or trying to capture something ephemeral. My paintings have a nostalgic or melancholic atmosphere and the characters usually appear disconsolate , but perhaps with a hint of comedy. I think this is true of recent experiments in small-scale portraiture. I have painted a series of bizarre characters in a skewed twist on the style of the old Masters.

I was fascinated by Twin Peaks for its depiction of ego or personality. For me it seems characters from the Red Room seems to be minor egos suppressed within people.

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Gordon W Robertson

Trained at Grey's School of Art, Aberdeen, Scotland. Moved to London twenty years ago and initially worked as a fine art editioner with Editions Alecto. Robertson's work brings together the printmaker's craft with age-old intaglio metal-making techniques to produce surface pattern as a tactile three-dimensional artform. His work explores the potential of pattern, materiality and surface, initially developed during his training and career in printmaking and textiles. He now specialises in hand etched metals, particularly pewter and silver, from which he creates tableware, furniture, and jewellery. The designs are replicated across the media of textiles and print.

The work is entirely hand-drawn: for digital applications, he uses a pen tablet. The designs are usually hand drawn on paper or canvas, and then scanned with little or no digital manipulation. Robertson's aim is to create work that combines age-old artisan techniques with digital technology – A Fully Applied Arts and Pixel Movement.

Twin Peaks footnote

I was lucky enough to attend the premiere of Eraserhead at the Edinburgh Film Festival in 1977, a truly bizarre experience, it was the heady days of punk and reggae. Pere Ubu and Devo were huge influences on me and Eraserhead fitted in perfectly – the clanking industrial wasteland, Henry's fabulous haircut, a mutant baby and a lady with cotton wool cheeks singing in a radiator … unforgettable! Mr Lynch's mind is in a space not many of us have visited!

I have seen most of David Lynch's work and am always truly mystified by his craft. The symbolism in Blue Velvet, Twin Peaks (a firm favourite of mine), and Mulholland Drive, will be analysed forever. A sign of maverick genius. Thank you Mr Lynch.

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Peter Russell

Born 1948, Portsmouth, UK. Work and resides in Stirling, Scotland.

1969 University of Edinburgh: MA in Fine Art and Mathematics
1973 Duncan of Jordanstone College of Art, Dundee: DA in Drawing and Painting
1974-1991 Secondary School Teacher of Art and Design: PT, McLaren HS, Callander
1991-2012 Community Artist: workshops; gallery classes; lectures. Students 5-95 years – hospital patients; prisoners; people with mental illness; university and college.

Exhibitions: selected Group shows

2012 Hanging Together: Criminal. Changing Room, Tolbooth, Stirling
1977-2012 Society of Scottish Artists Annual Exhibition: RSA Galleries, Edinburgh
Open City Festival, Lublin, Poland. Invited Artist: Action 'Archaeologica Lubelska'
2010 Hanging Together: Variety Show, Crawford Arcade, Stirling
East Side Gallery, Berlin. Invited to repaint wall painting “Himmel und Sucher”, first executed 1990, and reworked 2000. Site protected as Denkmalschutz Development: A building site with 10 artists, Prago, Warsaw, Poland. First version of 'Archaeologica Lubelska'
2008 Hanging Together: Homecoming, Mar Family Mausoleum, Kirkgate, Alloa Residency, Atelierhaus Panzerhalle, Berlin. Auction “Panzertafel” Hanging Together: Oronsko, Polish Sculpture Workshop. Linnaeus Bicentennial Hanging Together: Galleria XXI, Warsaw, Poland. Toured to Gorzow Wielkopolski Atelierhaus Panzerhalle, Berlin: “Blaue Halle: Marktplatz Europa”. Toured to Arnstadt Hanging Together: Culross Palace, “Salt” “Scottish Spirit”, a Society of Scottish artists touring show to Philadelphia'; Rutgers, NJ; SE Louisiana University; Gallery of Contemporary Art, University of Colorado; Central Michigan University; The Mitchell Museum at Cedarhurst Sculpture Park, Mount Vernon

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Chris Saunders

Saunders has photographed many well known authors, actors, film directors, musicians and comedians; subsequently published in numerous worldwide publications.

Past clients include The Guardian, The Observer, Sony, EMI, Universal Records, Random House Publishing, Harper Collins Publishing … and David Lynch and Mark Frost.

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Hiram To

Hiram To is an artist who works in conceptual-based installations. Also a writer in the visual arts, popular culture, film and fashion.

Born in Hong Kong to Chinese parents, To lived in Scotland and Australia. He has widely exhibited in Australian public galleries and internationally, with works acquired by institutions such as the National Gallery of Australia, Powerhouse Museum and the Queensland Art Gallery.

To was invited by Camden Arts Centre , London to exhibit a solo exhibition in 1994. The invitation was the first Chinese artist solo show at a British contemporary art museum. The Winnipeg Art Gallery, the State Gallery of Manitoba in Canada also presented a selected projects survey of the artist in 2002. To was one of three artists representing Hong Kong at the 52nd Venice Biennale in 2007. As a curator, he has collaborated with Institute of Modern Art Brisbane, Artspace Sydney, Ipswich Art Gallery and Next Wave Festival in Australia, and Goethe-Institut Hong Kong.

Since 1995, To has resided in Hong Kong and worked in communications and journalism. His writings have appeared in South China Morning Post, Harpers Bazaar Hong Kong, C for Culture, City Magazine, The Standard and many other English and Chinese language publications.

Hiram To's work tackles the nature of changing identity and its relationships with the mass media and personal / public interface. Taking reference from a wide variety of sources such as literature, film, art and popular culture, he creates multi-layered installations that embrace and challenge the way that identity is constructed or fragmented.

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Lizzie Vickery

Born 1984, North Vancouver, Canada

MA Photography-Fine Art/Royal College of Art, London
BFA Photography/Ryerson University, School of Image Arts, Toronto, Canada

Awards:

Matthews Wrightson Charitable Trust/Fine Art Student Bursary. 2012
Royal College of Art/Fine Art Student Bursary. 2011
Magenta Foundation Flash Forward/Emerging Photographer – Selected Winner. 2010
Magenta Foundation Flash Forward/Emerging Photographer – Selected Winner. 2008
Ryerson University/Best Emerging Artist – Gallery TPW. 2007

Lizzie Vickery is a Canadian artist based in London. She was born and raised within sight of North Vancouver's very own Twin Peaks, a pair of pointed summits called The Lions, located on the North Shore Mountains.

Her work has been exhibited in Canada, Italy, France, the US and the UK. Lizzie has also participated in residencies at the Elsewhere Artists Collaborative in North Carolina, and at the Festival Planches Contact in Deauville, France.

Taking inspiration from a desire to blend and shift aesthetic cues, the camera distills, captures, conceals and reveals in the constant interplay between two and three dimensional forms. Perspective tells us how to look, and what to look at, while comprehension tells us no matter how hard we look, we are always choosing sides. The illusion and confusion of amusement and delusion activate my infatuation to take photographs that can see, in a way our eyes naturally cannot.

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Paul Willoughby

Paul Willoughby is a graphic artist and the Creative Director of independent film magazine Little White Lies. He is also a co-founder and Creative Director at TCOLondon creative agency.

As an illustrator he's worked for clients such as Nike, Adidas, IBM, The New Yorker and Fendi. Willoughby has also curated exhibitions in London and most recently Colette, Paris.

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Wu Xiaohai

Born 1972, Hunan Province, China. Work and reside in Beijing.
MA/Mural Painting Dept, Central Academy of Fine Arts, Beijing

Wu has embarked upon several large-scale projects for museums in China in the few short intervening years, including his first solo museum show, “Is It Real” at the Inside Out Art Museum, Beijing in 2011. In 2010 Wu was the recipient of the prestigious China Scholarship Council Award, which has taken him to the University of London as an academic visitor until autumn 2012. Born in Hunan, birthplace of Mao Tse Tung, Wu sought his career in Beijing, undertaking a number of monumental public art projects through the 1990's and subsequently completing his postgraduate study at the Central Academy of Fine Art, where he would later emerge as a professor of its Mural Painting department. A professor by morning, the remaining daylight and evening hours Wu devotes to a prolific work regimen. Since a number of years, Wu's preferred medium is charcoal on paper support as conduit to his considerable imaginative flair. His favoured source for creative impulse is the deep wells of his childhood memories growing up in the years of the Cultural Revolution. The resulting body of work is partly ludical, partly solemn, yet never banal interpretations of this pivotal period and the individual's at times troubled relationship to history, collectivity and ideology.

Exhibitions:

2011 Is It Real/Solo show, The Inside Out Art Museum, Beijing
2010 I Remember Tomorrow/Solo exhibition, Galerie Dominique-Polad, Paris
Group show, Tang Contemporary Gallery, Hong Kong, and Bangkok, Thailand
2009 3.14115926 ……Beijing Art Now Gallery, Beijing
Art Beijing, Contemporary Art Fair, Beijing
Special Projects/Art HK International Art Fair, Hong Kong
Group show of Chinese Contemporary Art/The Hong Kong Jockey Club of Beijing
2008 Landscape with Human Presence/Solo show, Beijing Art Now Gallery, Beijing
Lost Light/Eric Corne and Wu Xiaohai Joint Show, Galerie Patricia Dorfmann, Paris
ARCO Art Fair, Spain
FIAC 2008, Paris (Exhibited by Galerie Patricia Dorfmann)
Art 39 Basel (Exhibited by Beijing Art Now Gallery)
Wu Xiaohai Solo Show/Central Academy of Fine Arts Exhibition Hall, Beijing
Observation of Objects/The Arts Museum of the Guangzhou Academy of Fine Arts, Guangzhou
The Era of Fake Heroes/Eastlink Gallery, Shanghai
2004 Five Man Exhibition/Space Gallery, Shanghai
Art from Northwest China/National Museum of Fine Arts, Beijing
Let Art Speak, An Exhibition of young professors/The Central Academy of Fine Arts, Beijing

Awards:

Named one of the “Ten Artists of the Future” by Beaux Art Magazine, Paris
1999 In The Book – Award for Excellence/The National News Publication Bureau Fine Arts Work Exhibition, Beijing
Graduation work 'Bridge' won the Okamatsu Family Fund Art Award/Central Academy of Fine Arts, Beijing

Public Collections:

FRAC Pays de la Loire (Video: Mama I Feel Sick)
FRAC Collection
Art Museum of the Central Academy of Fine Arts, Beijing

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