About Yuna Ding Art work
Vision,Graphic,Animation
Thinking,Illustraion




Selected Exhibition


  2. Chronicles of intimacy-Pie Factory
  7. Inspired Her-Creative Asia Art Centre
  8. Floating Structures-Changting Gallery
  9. The Sense Pinball-UnderlineART
  10. Synesthetic Soundscapes-Treat Gallery











MICROVERSES Changting Gallery 24/10/25～29/10/25 https://www.changting-gallery.com/exhibitions-20251024

The contemporary era in which we live is dominated by the notions of "gigantic”, "complex”, and "immersive”. Visual culture increasingly leans toward the occupation of sensation and the capture of attention, often tacitly equating a work's physical scale or volume with its social and cultural influence. Microverses consciously reverses this prevailing tendency: although modest in physical scale, focuses curatorial attention on artistic expressions of exceptional conceptual density. The micro is not a negation of the macro, but rather a precise apparatus of thought—one that refracts and reconfigures the structure of the world through details, fissures, and fragments.
This exhibition brings together sixteen artists from around the globe, whose practices—spanning painting, moving image, photography, sculpture, and mixed media—intersect and resonate to map out a “constellation” of thought and perception. Each artist constructs their own distinct “microcosm”, exerting mutual gravitational pulls that collectively form a galactic field of ideas.
Chaucer XIE visualizes hidden dynamic orders in nature through experimental installations that utilize water droplets and vibrations. Jingjing Xu intertwines the aesthetics of wabi-sabi and eco-feminism within video-based expression, creating symbolic spaces where artificial and natural elements intersect. μDust conducts archaeological inquiries into bodily memory using plant residues and medical instruments as materials. Yuna Ding conceives of "otherness" within intimate relationships as a generative site, articulating the fluidity and coexistence that emerge at the boundaries of identity.
Yi Yaewon, Yuki, Sia Li capture sensory particles such as fragments of dreams, fleeting emotions, and the primal structures of cognition, presenting them as delicate condensations of lines and images. Anita Maczan and Vukašin Delević build philosophical bridges between the microcosm and microverses: the former investigates multi-body systems and gravitational fields, while the latter constructs collages that highlight the similarities between atoms and galaxies, revealing how the microscope and the telescope occupy opposite ends of the same axis of thought.


Fanglin Luo revisits mythological goddess figures to reconstruct a constellation symbolizing feminine will. Chaejeon Kang juxtaposes virtual bodies with decaying materials, revealing the fragility and complexity of the female bodily ecology. Jingkang Tu condenses personal memory and formal sensibility into imagery resembling "building blocks" or distinctive chromatic compositions. Nara Beibit places colonialism and domestic violence side by side, weaving narratives of resistance. Millianna Guangyi Luo records dynamic orders hidden in everyday life through the language of light and geometry. KLOINMI creates sculptural shelters that seem to fold together the inner self and the cosmos. Tom Zelger captures the permeability between matter and ecosystems in photography, highlighting the symbiotic yet tense relationship between humans and the environment.
What unites these works is their adoption of the “micro” as a methodology for both perception and practice. Rejecting grand spectacle, they unfold complex thought within localized, condensed acts. As Merleau-Ponty once wrote: “Perception is not about possessing the world, but about being with it.” It is precisely within this space of “coexistence” that these works carry out multidimensional thinking and sensuous experimentation.
Microverses serves not only as the exhibition’s title but also as a metaphor for its curatorial approach. Each artwork exists like an independent planet drawn by the invisible gravity of thought; the viewer’s gaze moves like a probe traversing nebulae, tracing orbital paths through interstellar realms of ideas. Within this miniature cosmic map, we are invited to reconsider scale, relationality, and the very act of seeing itself. As Paul Klee famously stated: “Art does not reproduce what is visible; rather, it makes visible what is not.”