If Yang Guangnan's "The Sky of Monet's Garden" series of works is to a certain extent about looking toward and thinking about "faraway places", then the artist's solo exhibition "Borderlands" at CLC Gallery Venture attempts to deconstruct the observations she has accumulated in recent years, in the midst of the impediment and predicament, by lashing and interrogating the situation of our surroundings.

 The exhibition is introduced by a short video shot in 2014, which captures the short-lived peace on the eve of the demolition storm in Heiqiao Village. In the decade that follows until 2024, the scene and structure of the world around us will change dramatically, but in the end, it will seem to have come back to square one. The impact of this decade will be deep-seated and far-reaching, forcing the artist to re-examine herself in closeups and her relationship with the world: why has our society become so much more rigid and fragile after such bold and decisive measures applied to it? How can we re-establish the connection between the lacerated pieces? How will the nomadic spirit return?

 The exhibition will integrate on-site constructions to create a space with a sense of experience. It echos the key messages behind the works: the loop; the cutting, analysis and grinding of minerals; the road (or the folding and meandering of time and our age); spiritual nomadism, entrapment; and faces. A group of flat works titled "Borderlands" is closely related to the theme of the exhibition, and it is also an attempt to advance the artist’s extremely rigorous form of expression. Yang Guangnan's works seldom show specific human figures, but in fact it is the artist’s way to discuss how instrumentalized human beings are embedded and shaped by the material world they have constructed, while the spiritual world is forced to separate and wander away.