<sub>“All paradises are lost paradises” - Marcel Proust

It’s the end of August. The light is gold and heavy, skating across the ground, buoying the first fallen leaves along the pavement. Shadows languidly unfurl themselves, stretching their toes, and arching their backs through the streets. The landscape is soft and covered in peach fuzz. The last days of summer burn up in tender wisps of smoke. These downy days are clotted with nostalgia - for the summers remembered only by yellowed snapshots, the bright, waxy mornings of back to school, and the shiny new year. The 18th-century painters of the picturesque wove together contemporary landscape design with Greco-Roman figures and crumbling biblical hermitages, creating a vision of an eternal paradise. Painting en plein-air, Impressionists strove to capture a single instant,landscape was a thing in flux, an experience slowly escaping their grasp. Never neutral, place is inscribed with narrative and memory. The ridges and valleys of a landscape are only defined by our meandering, sentimental pilgrimages through them and through time.

Quinn Benson, Juliusz Grabianski, Anya Kashina, Leon Pozniakow, and Tianyi Sun hurtle down these highways — picking up ephemera fallen along the road. Often, they run into virtual space, losing their way in the left-right-up swipes of an endlessly scrolling architecture. They wander through a carnivalesque metropolis, subsumed by its glowing proportions, each image dissipating as it passes. And yet, ‘memory’ is stored in blinking servers, fallible and opaque. Google Earth’s fish-eyed lens freezes 100/mile traffic whistling through the desert. These artists bring back logs of strange journeys into corn-fed conspiracies and the memorabilia of their own lives....

...Tianyi Sun’s resin canvases are printed with her memories, the fleeting images and haphazard selfies that make up our digital archives. Transparent and luminous, the images seem ghostly, as though not fully downloaded from an off-site server. Her new series of resin sculptures are cast from household fixtures and antique Chinese screens. Partitions designed to protect the privacy of a scholar’s work, Sun’s cloudy versions hold medicinal herbs and berries within them like amber fossils. The sense of a barely preserved archive pervades her work, capturing the liminal space between remembering and forgetting that the ‘cloud’ offers us. — Thea Voyles</sub> 

_{Screening [白芷], 2024
13 x 15 inches
Epoxy resin, wax, Job's tears, Angelica dahurica, American ginseng, acrylic polymer}

_{Screening [Touch], 2024
15 x 16 inches
Epoxy resin, wax, Plexiglas, goji berry, wild jasmine, Euryale ferox, acrylic polymer, acetate}

_{Browser [Other side], 2024
16 x 10 inches
epoxy resin, wax, Plexiglas, wood, licorice, acetate and acrylic polymer}

_{Ink Stone [6 grams] / 砚 [6克] / Pieces
4.5 x 4.5 x 1 inches
Epoxy resin, wax, Job's tears, red beans, ginseng, acrylic polymer}