Yi Tai Sculpture & Installation Projects
Jeong-A Bang
b. 1968, Busan
Oliver Stone’s Swimming, 2024
Acrylic on a translucent fabric
623 x 308 cm
The Space Between Us, 2025-26
Acrylic on a translucent cloth
400 x 650 cm
Jeong‑A Bang presents two acrylic paintings on translucent fabric that unfold as suspended tableaux of tension, personal narrative, and social critique. Oliver Stone’s Swimming (2024) emerges from a position of sorrow and sharp cynicism, responding both to the climate crisis and to filmmaker Oliver Stone’s pro‑nuclear advocacy in Nuclear Now (2022), in which he gestures toward a cooling pool of nuclear waste and asks a factory worker, “You could swim here, right?” In Bang’s rendering, swimming becomes a charged motif, an image of buoyancy tinged with unease, laying bare the fragile optimism and ethical ambiguity intrinsic to promises of technological progress.
In The Space Between Us (2025–26), Bang depicts two hallabongs (mandarin oranges from Jeju Island) facing one another, staging the charged moment when distinct beings meet after moving through different temporal trajectories. The work invites reflections on relationality shaped by time, intimacy, and the spaces that connect and separate.
Presented by Gallery MAC, Busan
The Space Between Us was produced with support from the Korea Artist Prize Promotion Fund, SBS Foundation, and the National Museum of Modern and Contemporary Art, Korea.
Image: Jeong-A Bang, The Space Between Us (detail), 2025–26. Acrylic on a translucent cloth, 400 x 650 cm. Courtesy of the artist and Gallery MAC.
Elnaz Javani
b. 1985, Tehran; lives and works in Colorado
The Fate, 2024–
Series comprising 12 works to date
Dimensions variable
The Fate (2024– ) is an ongoing installation comprising twelve secondhand men’s coats, each hand‑sewn with Farsi and Azeri calligraphy. Through a meticulous, labour‑intensive process of cutting, reassembling, and transforming the garments with collage and appliqué, the works bear simultaneous traces of skilled care and accumulated wear. Through material manipulation, Javani activates memories and emotional residues tied to displacement, exile, and translocation, folding personal archives into wider collective histories.
Presented by RARAES Gallery, Dubai
Image: Elnaz Javani, Lucky (Limited Series The Fate), 2013. Hand-embroidered on the outer layer of an M-size men’s coat, applique and thread, 180 x 90 cm each. Courtesy of the artist and RARARES Gallery.
Silvester Mok
b. 1996, Hong Kong
The Digital Fossiliser, 2026
3D printer, 3D scanner, resin, ceramic, metal furniture
400 x 300 x 200 cm
Drawing on Hong Kong’s first dinosaur fossil discovery in 2024, this project reflects on how life and objects are preserved across time. Inspired by natural fossilisation and amber formation, Mok uses 3D scanning and printing as a form of “accelerated fossilisation,” transforming everyday objects into ceramic and resin works that are conceptually preserved. Presented as a living workshop within a fictional laboratory, the installation addresses questions of permanence, value, and memory in the digital age.
(Collaborator: Carmen Tsui, Myron Lai, Simon Wu)
Presented by Touch Gallery, Hong Kong
Image: Silvester Mok, The Digital Fossiliser, 2026. 3D printer, 3D scanner, resin, ceramic, size variable. Courtesy of the artist and Touch Gallery.
OrangeTerry
b. 1993, Hong Kong
Found Faith, 2026
Wood, directional caster
4000 x 4000 x 1080 mm
OrangeTerry is a Hong Kong–born artist and industrial designer whose practice centres on post‑industrial design, found objects, and surplus materials, reframing everyday furniture and fixtures into sculptural installations. In Found Faith (2026), the artist takes a pew gifted by a senior artist friend as the basis for a large‑scale sculpture. Occupying a grey zone between functional object and sculptural proposition, the work displaces the pew from its congregational logic, recasting it as a site for introspection rather than worship. Its deliberate uselessness becomes generative—opening a reflexive space in which viewers are invited to reconsider the social and emotional scripts embedded in the things we use. Stripped of its outward-facing purpose, the pew turns communion inward, inviting reflection on the pursuit of faith, values, and points of orientation amid times of uncertainty.
Presented by Square Street Gallery, Hong Kong
Supported by THE BOTANICAL
Image: OrangeTerry, Found Faith (preparatory study), 2026. Courtesy of the artist and Square Street Gallery.
Alexis Wong
b. 2002, Hong Kong
Sunken Echoes, 2026
3D-printed thermoplastic polyurethane (TPU), beechwood frame, birch plywood, electronic components, artificial fur, feathers, fiberglass and epoxy resin, gooseneck pipe, latex, latex paint, polyethylene terephthalate (PETG), gypsum, polystyrene, rawhide, sand, speakers, steel plate
Dimensions variable
Alexis Wong arranges black mountainous forms, translucent shells, a suspended quasi‑organic vessel, and sedimentary traces into a charged spatial field shaped by forces of attraction and repulsion. Informed by the Eastern concept of “shi’ (勢), understood as the propensity or directional pull arising from a given configuration, the installation stages a “shi‑field” in which relational currents and structural pressures guide perception and movement. “Shi” is positioned as a vital directional intuition for navigating accelerated, volatile times—a mode of sensing how to situate oneself, how to perceive, and how to move forward through self-attunement.
Presented by Yiwei Gallery, Los Angeles, Wuhan
Images: Alexis Wong, installation view of when meandering through the sunken echoes, 2025. Mixed-media interactive installation, size variable. Photo by Ian Wallman. Courtesy of the artist and Yiwei Gallery.
