“Until I Reach My Limit” means infinitely closer to Taoism itself. The three silent sculptures in the gallery's center preserve all of their immense power. We merge into an unlimited unity when the free spirit and the eternal spirit flow together to form the universe. In the Eastern view of the universe, there is no distinction between inner and outer space. Instead, it is through a cyclical unity that one perceives the self and the connection to an all-embracing, infinite, and yet - to - be - explored universe.
Wen Xiaoying's art pieces are consistently grounded in reality, encompassing theological and numerological themes as well as a nuanced comprehension of the tragedies that have recently occurred in the society and related to its hierarchical structure. Boyce, who has taken on the duty of the society's healer, is an example of an uncommon manifestation of self-awareness in modern times. To a certain extent, the three pieces in the "Unfathomable Borders" series and the "Witch's Quotes" are the artist's attempts to break free from the logic of power and capital, and to foster a spiritual relationship with the natural world.
These artworks can be interpreted as a relic of the artist’s recollections as a result of her mind’s saturation in the real world. The sculptures' fiberglass material continuously battles firmness and fragility to create a spiritual conduit for communication with the ancient stars' time and space. It is as though the artist's consciousness were on display for all to see, lingering in the gallery. This artistic production, which draws inspirations from Taoism, is motivated by the sense of the boundless flow of life that permeates the universe.
More importantly, how can art go from being an "experiment" to a "practice" when we cannot be persuaded by the universalizing Western-centered discourse and mystical language? Wen Xiaoying once described her way of an internal view as follows: "For me, it's always a very thin thread that passes precisely through the middle of them." This takes us to the artist's bodily temples. These spaces open up their consciousness to be observed, caressed, and embraced by the viewer. This is a brisk transition from fictionality to reality and a type of borrowed truth, instead of an aspiration to engage in cosmic politics.
The exhibition will be completed with the arrival of the audience. The notion of exertion, as shown in this solo exhibition, does not refer to declarations and actions initiated against reality, but rather an understanding of it. The exhibition is not merely the artist’s comprehension of personal experiences and histories, but more fundamentally, the care and awareness of all the potential outcomes of other people's lives.