The title of this exhibition, “Black Dwarf” comes from Scott Walter’s uncelebrated novel of the same title. These three artists agree that this choice is not made based on its gothic slant, but rather its representation of a certain existential reality. Once the decorative appearance and rhetoric are stripped off, a naked truth is revealed before our eyes. Perhaps the truth is ugly and unbearable, yet it embodies an intense sense of presence in life, such sense of presence would not disappear because of its feeble and unnoticeable character. Instead as it has removed its superficiality, it grows from its unique independent sense of dignity. Reality is already an embodiment of absolute cruelty, like the message “Black Dwarf” conveys, it forces people to stare straight at the truth in life. The artists have found relevant projections within their own emotions. These emotions are complex, profound and ambiguous, moreover embodies respective context and reference.

Nabuqi has hypothesized her experience into a breathtaking adventure, revealing her inner truth through minute and detailed senses. As she assigns the weightless “eyelashes” the monumental sense of presence, everything else can be ignored inadvertently, and one begins to notice his/her subconscious blinking becomes momentarily difficult and dominating. The individuals passing through this unbalanced space where the dangerous points are exposed would be unable to avoid facing certain truth of life in this field of “silence violence”.

Liu Fujie is always depicting a weary and helpless sense of existence through portrayals of fated causalities, and becomes excited by the effort in searching for an exit, even though efforts may be spent in vain. Like passing through a door - from one confinement to the next. This time, she meticulously calculates and constructs a sealed off and layered cage to suggest the ubiquity of obstacles and limitations, the cages of various powers, and those wandering in it are at loss. There are those who have fallen helplessly, as well as those to are proactively seeking help, those relatively free or absolute confinement are taking turns to manage the soul in everyday life.

Through the lenses, Fan Si is able to treat those vivid lives with frankness，like one may not look at the sun through naked eyes, Fan Si uses the camera lens to touch on the impenetrable dignity and its concealed truth, even the insignificance of the core of a piece of grass, should also be shown with its entitled dignity through careful consideration and analysis. Truth is the most difficult to obtain, the lens needs to be bare, and truth will respond. Once the expressive rhetoric of a given context is taken away, most of the truth will gradually be exposed, and life emerges out of layers and layers of illusions, that will not remain at its visual limitations.