Xu Sanhuang
b.1991, Shantou, China;
lives and works in Guangzhou, China.

A walk might not only be in the mountains, but also in the mind, on a tree, on a pine needle. With the mindset of walking, one notices many interesting things.
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— Xu Sanhuang

Li Hanwei
b.1994, Xuzhou, Jiangsu, China;
lives and works in Beijing and Shanghai, China.

The real landscape of Jinshanling gradually transforms into a hybrid of memory and algorithm—those ink pigments on acrylic are neither the emotional brushstrokes of traditional painting nor purely digital renderings, but a third visual language emerging from human-machine collaboration.
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— Li Hanwei

Feng Zhixuan
b.1993, Wenzhou, Zhejiang, China;
lives and works in Beijing, China.

Ice Wings Descend resembles an unknown flying craft in the shape of a manta ray, or a chrysalis nurturing a titan insect deep within the forest. It represents a fusion of alien technology and Earth’s ecology, heralding future transformations.”
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— Feng Zhixuan

Cai Minhao
b.1998, Guangzhou, China;
lives and works in Shanghai, China.

I also imagine the past of this modern community, tracing its shape before it became a community—out of curiosity and an instinctive nostalgia for things that disappear.
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— Cai Minhao

Marten Bayuaji
b.1992, Jepara, Indonesia;
lives and works in Yogyakarta, Indonesia.

In every climb, two opposing forces compete within me—a spiritual duality like arrhythmia. They are fear and desire. One drives me to conquer the mountain; the other cautions me about risk and disaster... These two characters suggest that the spiritual realm is always tied to the heart. It seems the heart embodies and controls these states. If so, does mastery over the heart require unseen knowledge? Facing nature, desire on my right, fear on my left—I walk between them.
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— Marten Bayuaji

Wang Tingyi Roxanne
b.1996, Nanjing, China;
lives and works in Shanghai, China.

Jinshanling’s late-winter dormancy is a form of attitude—an ecological balance maintained through the seasons. During the residency month, I observed this season’s quiet introspection and hidden temporality.
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— Wang Tingyi Roxanne

Hashel Al Lamki
b.1986, Al Ain, UAE;
lives and works in Abu Dhabi.

I don't enter a place looking for what can be extracted. I look for what it’s already holding. I see land as an archive, a witness, and a collaborator. It is not an empty vessel, but a living record—marked by use, memory, and constant evolution.

—Hashel Al Lamki

Yu Guo
b.1983, Sichuan, China;
lives and works in Chongqing, China.

Over the residency month, I have been observing through clues, searching for Jinshanling’s intersections across time and space... I believe that when one stands in these intersections, it helps reveal the essence of spatial production—how do humans create these spaces? What future lives do people envision? How do illusions project onto real space? I abandoned the use of large equipment during the residency, opting for a phone-and-telescope setup to find a medium that is both everyday and detached.
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— Yu Guo

Nei He
b.1986, Beijing, China;
lives and works in Beijing, China.

The named world and the unnamed world are not the same. At the start of ’25, Yu Guo and I spent sun, rain, snow, and wind here—he drew, I wrote, hoping that future visitors will hold this book in their hands. In the mountain folds, may there be new lakes, peaks, skies, and fresh eyes.
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— Nei He

Cao Chunshu
b.1997, Harbin, China;
lives and works in Beijing, China.

For this residency, I placed my body between valleys and paths, searching for trees that resonated with my intuition—carriers of energy and spiritual guides... I sought to construct a visual language beyond the figurative—borne of natural observation, image thinking, and spiritual imagination. It is neither landscape painting nor cultural reconstruction, but a visual structure formed through my intuition, bodily experience, and intersecting local myth.
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— Cao Chunshu