Linda Gallery is pleased to present the artworks by Chinese artist Mao Xuhui, Wang Xuan, Xue Song and Xiao Hong at Booth 3·13, and a sculpture by Indonesian artist Nyoman Nuarta at the WONDER part.

· Mao Xuhui uses realistic style to express his ideas but his works are not of realism. This leads to many art critics misinterpretation and categorized his works as Expressionism. From the European perspective of European Arts, his paintings falls into the category of Realistic Expressism. His artworks meant to express one’s intellectual depth in traditional visual arts.For Mao Xuhui, the element of scissors is a daily supply at first, but it symbolizes the power and strength that is everywhere in daily life. He took it as a kind of weird symbol, collage in various real life scenes, to express his anger and unease. However,he gradually began to pay more attention to the shape of scissors and its functionality, which mean the meaning of the element itself. In his words, he "did not draw scissors, but the shape of some scissors". He deliberately uses the expression of flat coloring, so that the seemingly clear shape is removed from the practical meaning of the object itself, and its symbolic meaning is emphasized.

· Su Xinping's interests have focused more on the thinking and contemporary transformation of traditional Chinese painting concepts and methods, as well as the possibility of personal artistic language transformation.Through continuous knowledge and refinement of the language that he is most familiar with, He finds his own artistic expression language, and in the process of re-understanding and comprehending the spirit and concept of traditional Chinese painting, he strives to achieve a contemporary transformation of concepts, so as to achieve To achieve the purpose of personal unique artistic language. His artistic concept is based on the reflection and practice of life. In the increasingly fierce competitive environment, people strive to break through the self-struggling life state.

· Wang Xuan, born in 1979 in the province of Guangxi, China, creates in his small to medium-sized works his very own world of images. With great painterly precision, set-like individual elements are combined into still-life-like pictorial spaces, in which the painter fuses surrealistic images with objects from European and Asian art history to create imaginative works of art.

· Xiao Hong has expressed the spatial manifestation of historicity in his works, establishing the meeting point of multiple space-time continum on techniques of oil painting has progressed, from the qualities of the mediuum on the two dimensional expanse of a canvas. In this way, his techniques of oil painting has progressed, from an early prioritization of qualities of giving importance to the rendering of multiple space-time complexes.

· Xue Song, born in 1965 in Anhui, China, is one of the main representatives of Chinese contemporary pop art. Xue Song's initial artistic experiments began in the 1980s. At that time, China modern art movement was in full swing. Pop Art and other ideas challenging traditional aesthetics inspired many Chinese artists with China's Reform and Opening-up. At the same time, Xue Song began to try to create new artistic concepts, and always trying to find the uniqueness of his personal art. "Burning" and "Collage" have become Xue Song's unique artistic language, from which he creates artworks on different issues such as society, politics, tradition, humanity, fashion and aesthetics.

· Zhu Wei was born in 1966 in Beijing, China, and was the first artist to introduce fine brushwork painting techniques into the Chinese contemporary art field. His artworks have been collected by more than 20 art galleries and museums around the world. When a large number of Chinese emrging artists used oil painting to create "political pop" and "satirical realism" works, he began to explore the possibility of using traditional fine brushwork paintings to show the political and social life of contemporary China. The characters in Zhu Wei's works are grotesque, with absurd but lightly warmth.