It is clear that the artistic practice of Sui Jianguo and Shen Ling follows their own clues. Joint solo exhibitions are held in Hui Art Space, which is not based on the creation’s result, nor on comparison, but a goal. A goal that aims to orient people to listen to their narrative style creation instead of orienting people to manufacturing.
Shen Ling's paintings are aimed at another world of things, which is not about appreciating or feeling. She sneaked into that world in the body of the objects, which seems only to be effective in a short-term. Shen Ling borrows the inscription from the Six Chapters of Floating Life, mainly from the family essays and desultory essays, where people can never always find the natural purpose in the various signs. However, the meaning of recording moments is more than creating or deriving symbols itself, but to reflect the crushing time continuously.
Sui Jianguo’s "physical material" adopts a narrative method that is contrary to but does not contradict with the "physics". The"physical material" breaks through the materials’ function and usage. Reason, as a narrative action, not only expects the order of things but also generates the significance and ability of rite in the narrative.
As a force of liberation, art is always associated with the creators' anxiety and contradictory situations. Hui Art Space, as an assembly place, allows people and things, contradictions or anxieties assembled here to be recontextualized in each others’ contemplation or conversation. The character Hui features the shape of the combination of upper and lower, describing the action of assembling and gathering. It extendedly means the integration of nature and manpower, the convergence of the ancient and the modern, and the wish of comprehension and fusion.