Solo Exhibition Holborn Asyne Space, Shenzhen
Wang Xin's solo exhibition, "Touch", will open on May 30, 2026, at HOLBORN. Stay tuned.
Curator: Yao Siqing
Touch the Realms , Labyrinth of Illusion
At the end of the passageway hangs Touch, the first painting that enters our field of vision. It serves as a subtle prelude and, at the same time, the spiritual manifesto of this exhibition. In the painting, two hands, each rendered to a different degree of detail, appear—one descending from the upper left corner, suspended in a gesture that hovers over the other. Yet the lower hand does not respond with a similar intensity. Instead, it extends each of its lines into a two-dimensional void, making the relationship between the two hands ambiguous. This could also be interpreted as the first hand’s ripple or echo manifesting in another spatial dimension, rather than an encounter occurring at the same moment in time. This modest drawing, constructed entirely from pencil strokes, precisely reveals the unique function of “line” in Wang Xin’s work: the line does not exist to delineate the physical entity clearly from the world; rather, it exists to construct passages between multiple dimensions. Through the variation, flow, layering, and mutual penetration of lines, their touch upon boundaries is precisely what opens a hallucinatory journey across different dimensions. Perhaps it is also a way to seduce us into shedding the closed contours of our own bodies, so that we may lose ourselves in resonance with all beings.
Under Wang Xin’s brush, the giant dancer—its form already merged with mountains, rivers, waterfalls, or even the flow of energy in a vaster galaxy. The human body becomes a house that carries the mingling of experience, sensation, and memory. The inner spiritual space of the “human” is opened, but it is not a realm dominated by instrumental rationality; rather, like nature itself, it continuously embraces birth and decay. This naturally prompts us to ask: what enables these observed objects, so vastly different in scale, to share a common structure? What forges order and wholeness between the microscopic, the macroscopic, and the visible world? In Wang Xin’s approach, the most important and foremost answer is her belief in the sacred and the sublime—particularly her faith in their power to carry one beyond egoism.Yet she avoids the method of converting to modern monotheism, for the humility and the insurmountable separation between this shore and the other shore established in that religious structure do not align with her way of perceiving the world. Instead, she tends to draw nourishment from the shamanic traditions of early civilizations and the spiritual cultivation practices that have endured for thousands of years. In those traditions, self-purification and inner clarity are fundamental efforts. In ancient tribal societies, singing and dancing around the evening bonfire are devout rituals that communicate between heaven and earth. With the human self opening to the invisible as a medium, through rhythm and cadence one attunes to the surrounding environment and gradually merges into the magnificent and mysterious process of the cosmos. The above explains why the visual images in Wang Xin’s work always emerge from profound darkness, why they always carry an unfixed, luminous quality, and why they are always imbued with such rich shades of green. They may well be the result of a painter, through her acute sensitivity, purifying the world and creatively transforming ancient rituals. Grotto of Origins, with its lush vegetation, and The Newborn, with its descent, seem to lead to different destinations, yet together return to the joy of primordial chaos, while the tongue of the Seer is about to release a sparkling, dewdrop-like aphorism.
Text: Yao Siqing
Translation: Yao Siqing
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