What does it mean to give form to existence? "Forms of Being: Body, Myth, Abstraction" brings together five distinct voices in contemporary sculpture—Wu Wei, Haoyu Wu, Yuya Suzuki, Liu Di, and Geng Xue—each probing this fundamental question through divergent material languages and conceptual frameworks. Moving across the physical body, mythic imagination, and abstraction, these artists examine the many ways being can be sensed, shaped, and made visible.

The exhibition unfolds along a spectrum of representation. At one end, Liu Di confronts us with the body in direct yet layered form. His "heavenly king" channels mythological archetypes, invoking divine presence and cultural memory. In contrast, "Lem," a fragmented torso adorned with intricate surface patterns, evokes a contemporary mythos, where identity is both constructed and elusive; the body a site of both revelation and reinvention.

Geng Xue interlaces corporeality with the poetic and the mythic. Her ceramic works often feature disjointed body parts—skulls, hands, fingers—entwined with flora and folklore. In "Pink Grey Glazed Mom Jar with Skulls, Fingers, and Grass," she creates a miniature universe where life and death, material and spirit, coexist. Geng’s practice reframes traditional craft into a vessel for personal and collective myth-making.

Wu Wei ventures into elemental terrain. His "Giant Beast" series evokes beings that feel at once ancient and emergent—textured, raw, oscillating between creation and decay. In works like "Yellow No.3" and "Pink No.3," he pushes toward abstraction, allowing color, mass, and surface to speak with visceral immediacy. The stark, sculptural Skull anchors his exploration of presence with a potent reminder of mortality.

From there, the exhibition moves into abstraction—forms stripped to their essential rhythm and material presence. Haoyu Wu crafts elegant stoneware that speaks through curve, balance, and finish. In "Fine Stoneware No. 8," the smooth surface and refined silhouette suggest a quiet, self-contained being—one defined not by reference, but by presence. Yuya Suzuki’s "Echo" series uses repetition and geometry to suggest rhythm, sound, or energy fields. These forms are not representations but systems—existences articulated through structure and flow.

Together, these artists reveal sculpture’s profound capacity to translate the intangible into form. From the physical to the mythical, from raw material to refined abstraction, "Forms of Being" invites viewers to contemplate how presence is felt, shaped, and held in matter. It is a meditation on the ways in which form becomes a vessel—not only for what we see, but for what we sense, remember, and long to understand.

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