DAYBREAK

The Exhibition

破晓 

 | 存在于时间中 

​陈蕾 策展人

破晓并非黑夜的终结，也不意味着白昼已经到来。它是一种介于消逝与显现之间的状态：光尚未落在事物之上，而是在它们周围聚集；熟悉的轮廓开始松动，色彩还未安放进自己的名字，尚未成形的事物逐渐进入感知，而世界仍保留着无法被完全辨认的部分。

本次展览以"破晓"为出发点，提出一个核心问题：当未来尚未确定，我们如何面对它？过程哲学提示我们，现实从未完成，而是持续生成；每一个当下都将过去汇聚其中，导向尚未决定的未来。通过七位艺术家对人、身体、自然、记忆与抽象形式的探索，展览关注的不仅是事物如何显现，更是显现本身如何改变我们理解现实的方式。

在绘画中，光不是被描绘，而是被建构：透明的罩染层层叠加，深度仿佛从画面内部呼吸而出；通透的人物成为光所穿行的容器，在梦境与现实之间浮现又消散；色彩拒绝凝结为确定的图像；机械与生命彼此生长，却不预设谁将胜出。在陶瓷中，泥土历经窑火与釉料，表面化为金属、铠甲或肌肤般的质地；由陶瓷零件组成的生物保留着拼合的痕迹，仿佛仍在建造之中；脸孔承载着生命中累积的保护层，记录着自我如何在时间中被塑造。

在这一过程中，破晓不再单纯地象征希望或新生，而成为一个开放的临界空间。在这里，过去并未完全消失，未来也尚未获得确定的形态；旧有的认知可能失去稳定性，新的理解则仍处于生成之中。在未知的变化中向内观照的能力，以及持续不息的生命力，正是生命存在于时间之中的本来状态。

展览不试图为这种过渡提供单一的答案。相反，它邀请观众停留在变化发生的时刻，重新审视可见与不可见、确定与未知、消失与生成之间的关系。

或许，破晓真正开启的，并不是一个已经明确的未来，而是一种重新看待世界的可能，以及一种意识：我们自身，也正参与着这个未来的形成。

​DAYBREAK

| Being Alive in Time

Rachel Chen | Curator

​

Daybreak is neither the end of night nor the arrival of day. It is a state between disappearance and emergence. Light does not yet fall on things so much as gather around them. Familiar outlines begin to loosen, colours have not yet settled into their names, and what has not yet taken shape gradually enters perception, while the world still holds something that cannot be fully discerned.

Taking daybreak as its point of departure, this exhibition asks a central question: when the future remains undecided, how do we stand before it? Process philosophy suggests that reality is never complete but continually becoming, with each moment gathering the past into something not yet determined. Through seven artists' explorations of people, the body, nature, memory, and abstract form, the exhibition is concerned not only with how things appear, but with how appearance itself changes the way we understand reality.

In painting, light is not depicted but built. Translucent glazes are layered until depth seems to breathe from within the surface. Transparent figures become vessels through which light passes, surfacing and dissolving between dream and reality. Colour refuses to settle into image, and machines and living forms grow into one another without deciding which will prevail. In ceramics, clay is transformed through kiln fire and glaze, taking on surfaces like metal, armour, or skin. Creatures assembled from ceramic parts keep the traces of their joining, as if still under construction, and faces bear the protective layers accumulated across a life, recording how a self is shaped through time.

In this process, daybreak no longer stands simply for hope or renewal, but becomes an open, liminal space. Here the past has not fully disappeared, and the future has not yet found a definite form. Old understandings may lose their stability while new ones are still coming into being. The capacity to look inward amid unknown change, and a vitality that endures, are the very condition of being alive in time.

The exhibition does not attempt to offer a single answer to this transition. Instead, it invites viewers to linger in the moment where change takes place, and to reconsider the relationships between the visible and the invisible, the certain and the unknown, disappearance and becoming.

Perhaps what daybreak truly opens is not an already defined future, but the possibility of seeing the world anew, along with the awareness that we, too, are part of shaping that future.