Miniature, Gigantic, Collection

“Miniature” represents a cognitive mode that structures and rationally condenses macroscopic entities, simplifying complex objects and presenting them within a controllable visual field. “Gigantic” refers to objects that surpass the direct perceptual reach of the human body, including vast natural systems, the unfolding of history, and the overwhelming currents of social information. “Collection” embody a decontextualized process of reification: people extract, fixate, and preserve experiences, emotions, and memories from specific times and spaces, transforming them into material anchors independent of the flux of everyday life. Together, these three dimensions form the basic framework through which individuals negotiate their relationship with external reality. 

The concepts of “Miniature”, “Gigantic”, and “Collection” are employed not as rhetorical devices, but as three distinct “cognitive scales” and “practical strategies”of perception. This exhibition is rooted in an examination of individual existential experience and the material landscape of contemporary society. Drawing theoretical guidance from Susan Stewart’s (On Longing) it explores how the intricate production mechanisms and fragmented information order of modern society exert an intangible, enveloping influence on the individual. In this context, artistic creation acts as a form of observation through which one re-evaluates the relationship between the self and the external world. 

Jin Han

Jin Han's practice responds to the discourse on "miniaturization" as a means of constructing order and rational control. His creative subjects include meteorological phenomena, celestial bodies, whirlpools, and the distant "things" akin to fireworks. Faced with the vast and untouchable natural systems—a typical "giant" that transcends embodied perception—Jin Han imbues it with a poetic and romantic hue. This romance is not an uninhibited emotional outburst; rather, through painting and printmaking mediums, he transforms the colossal movements of celestial bodies, atmospheric changes, and magnetic energy into poetically concise visual structures.

In the works showcased this time, this rational organization and materialization process is clearly visible. The "Rotation and Time" and "Vortex" series miniaturize the macro meteorological cyclones and celestial rotations into visually introspective whirlpool landscapes. The "Tears of the Wood Star" and "Moonlight" series convert the light and energy of distant celestial bodies into microscopic structures on canvas; while in the "Magnetic Field" series, the invisible physical fields are summarized into precise and clear textures. As Susan Stewart has mentioned, miniaturization grants the observer a sense of overall control over the world, and Jin Han condenses the untouchable cosmic phenomena into tangible dimensions.