19th November 2025 ~ 23th November 2025
Weaving Light, Dreaming Form
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Venue: B.T. Batsford Gallery, London
Date: 19th ~ 23th November 2025
Curated by: Hongqian Zhang
Artists: Ketong Xing & Junying Jiang
Featuring Ketong Xing and Junying Jiang, it brings together light-based installations and narrative-driven digital works. Through material, fantasy, and storytelling, the exhibition reflects on memory, identity, and the subtle connection between reality and inner experience.
Weaving Light, Dreaming Form is a duo exhibition exploring the dialogue between perception and imagination.
Ketong Xing’s work focuses on the spatial and material qualities of light. Drawing on wabi-sabi aesthetics and an architectural background, she creates delicate installations using tracing paper, fiber optics, and modular structures.
Her work exists in a liminal space between the physical and the digital, inviting a quiet, meditative engagement with light as both medium and experience.
In contrast, Junying Jiang approaches image-making through fantasy and storytelling. His digital illustrations reinterpret mythologies, rituals, and everyday life, transforming them into emotionally resonant narratives. His practice explores the boundary between reality and imagination, using fantasy as a way to reflect on personal and cultural memory.
Together, the exhibition forms a dialogue between stillness and storytelling, material presence and psychological space. Through this interplay, Weaving Light, Dreaming Form invites viewers to reconsider the role of imagination—not as escape, but as a means of understanding and reconfiguring lived experience.
In curating Weaving Light, Dreaming Form, Hongqian Zhang focuses on constructing a dialogue between two distinct yet complementary modes of perception—one grounded in material sensitivity and spatial awareness, and the other shaped by imagination and narrative.
Zhang is particularly interested in light as both a physical element and a connective force—linking works, experiences, and temporalities. By placing light in dialogue with fantasy, the exhibition proposes that perception and imagination are not oppositional, but interdependent ways of understanding the world.
Rather than treating these approaches as separate, she develops a curatorial framework in which both can coexist within a shared spatial and conceptual structure. The exhibition is designed to move between stillness and storytelling, guiding viewers from a contemplative engagement with light and material towards a more immersive and imaginative experience. In this sense, the curatorial process becomes an exploration of balance between atmosphere and narrative.
This curatorial approach reflects Zhang’s broader interest in creating exhibition frameworks that foreground subtle forms of experience—such as slowness, attention, and emotional resonance—rather than relying solely on visual impact. By carefully structuring spatial relationships and transitions, she emphasises the role of the viewer as an active participant in meaning-making. Her practice often situates exhibitions as sites of quiet negotiation between inner and outer worlds, where material, narrative, and perception intersect to generate new forms of understanding.