“Transparency” comes from architectural conception which has two kinds: physical and phenomenal. The physical transparency refers to the perspective effect resulted from material, and the phenomenal transparency could be taken as the polysemia drew from the multiple layers and potential orders in a piece of painting. The physical transparency means comparatively better depth of field, right quality of materials, attention on utilization of light, and simple or few ways of reading. While the phenomenal transparency is shallow depth of field, parallel perspective, stress on the orders and organizing structure of the painting and multiple ways of reading.
As the subject of this exhibition, “Transparency” seems to be clear yet ambiguous, hidden yet penetrating. It carries literal meanings like “through, arriving, obvious and exposed”, appearance as “unclear and obscure”, and the “extreme and pure” spiritual values. The repetitive coordinates as well as the overlapping and penetrating relations between works of different media and nature facilitate both the shallow-depth-of-field presentation and cubical angles formed by perspective relations. Orders, overlaps, ambiguity and physical bodies of work demonstrate a kind of 3D organizing format. Yan Shanchun’s printmaking by using sulfur and olive oil enables a subtle and soft scratch to be permanently carved in a short moment. Shi Jinsong has constructed a rockery work by beer bottle fragments, turning the sharp injury orientation to an object to people's delight. Liu Zhuoquan’s waterdrop painted within the glass bottle repeats the conception of “transparency”. Shen Ruijun’s ink and pencil installation crosses between light and shadow. Zheng Jiang narrates color of the sky seen through a glass window with caval vine pattern between 7 pm and 9 pm with her oil paintings based transparent. Zhang Jiedong illustrates the 3D nature of a rotating transparent space. New York artist Kikuko Tanaka's video work displays the transparent purity and passion of youth time; Jia Chun has invented a new kind of acrylic material with its distinguished light effect; Yang Xin uses biological cut sections to form a life originated from a kind of color; and Luo Wei has saved traces of life by using the light and shallow materials. Those artists have simulated a cascade, obscured and overlapped spacial experience through their precise and subtle, soft and light approaches. Transparency is not just mediation of glass, but refers to the penetrating yet independent relations between. Space becomes the third phase of the art works. It activates the relations between background and subjects, explores the continuity of within the internal space. The transparency absorbs ambivalence and partial uniqueness and it is transparency to have made the exhibition an uninterrupted imaginary interphase.