Zhi-Jiang Shan is an interior designer known for his cross-cultural design sensibility and poetic spatial expression. He often draws inspiration from classical Chinese landscapes, local craftsmanship, and symbolic spatial rituals, transforming them into immersive environments that resonate with modern life. His projects are not only functional but emotionally engaging.
Doug Winter is a semi-sighted North American conceptual photographic artist and filmmaker whose artworks focus on the preoccupation of light and non-figurative forms. Doug's non-representational photographs of conventional objects and their environments are derived from the human body's resilience to adapt and accommodate a physical disability and emotional trauma.
Ruonan Shen is a visual artist and photographer based in London. Her work engages with gender expression and transformation, focusing on China’s emerging drag scene as a lens through which to question the boundaries of beauty, strength, and self-presentation. Shen creates highly staged environments that balance intimacy and control, presence and absence.
Yixuan Nie is a rising multidisciplinary artist and fashion designer based in New York, whose work has been celebrated for its bold narrative power and innovative vision. Originally from Beijing, she draws profound inspiration from the layered textures of hutong life, infusing them with global relevance and artistic depth. She also works across styling, printmaking, and illustration.
Can Cui, originally from Beijing and currently based in New York, is known for her sculptural silhouettes and thoughtful explorations of material. Her work combines technical precision with conceptual depth, often engaging with themes of identity, transformation, and emotional texture. Can continues to challenge conventional structures and explore the expressive possibilities of fashion.
Sasan Nasernia explores different avenues in Persian and Arabic classical and modern calligraphy, working with painting, print, digital work and installation. Playing with the tension between two opposing primordial elements—order and chaos —Nasernia borrows from traditional Persian paintings and iconography, immersing these elements in abstraction and ambiguity through his letterforms.
