Untitled, 2026, O group (Yihan Pan & Josรฉ Cardenas)
Stone, Glass, Inkjet Prints
Part of our work during the winter 2026 @aranyaartcenter residency
A reflection on materiality, weight,lightness and abstraction.
Contemporary photographs of the northern great wall of China and the flora surrounding it appear to float on carved stones.
One grows out of it while the other splits it in half, a portrayal of nature and humanity's relationship to the mountain.
๐๏ธ๐งHeading to @photolondonfair and @peckham24photo next week with our new artist book.๐
๐ผ๐ฆ๐ช๐๐ค๐ช๐จ ๐๐๐๐๐ฉ๐ข๐๐ง๐ explores two contrasting waterscapes: the manicured imperial lakes of the North and the flooded industrial ruins of the South. This handmade edition features tea-stained paper. In this liquid sarcophagus, 19th-century colonial ruins transform into a childhood lake monster, a ghostly fusion of architectural decay and ecological trauma emerging from tea-stained pages.
Please find us at the @rca_photo photo table.
ยฉ Yilu Zhang (Luna) & Yihan Pan, 2026
@pyhii@lunaseawoo
#PhotoLondon #Peckham24 #ContemporaryPhotography #ArtistBook #HandmadeBook RCAPhoto TactileArt
24๐๐ฆ
Closing 23 by trading the lens for the brush. Lately, painting transparent creatures and old dreams.
So grateful for the dear friends, mentors, and curators whoโve had my back this year. Ready to keep creating at 24. >
Wishing you all the best. โจ
yihan
/
๐ทby @jose.crd.l
๏ผO that I had wings to fly away / With the flowers to the end of the world๏ผ
oil on canvas
80 x 120 cm
๐ Cao Xueqin, Dream of the Red Chamber
(Tr. David Hawkes)
Monument to a body, 2026, O Group ( Josรฉ Cรกrdenas & Yihan Pan)
Stone, Inkjet Prints
Detail shots of our work at @aranyaartcenter for the winter 2026 residency.
A series of natural images are embedded within stones of varying sizes, with both images and materials sourced or photographed locally by the two artists. The work is composed of multiple interrelated fragments, dispersed throughout the Upper Cloisterโa semi-outdoor space defined by natural rock, situated between the artificial and the natural.
Here, the mountain is transformed into a kind of embodied presence at a human scale. The micro-images and the stones themselves together form a dispersed mode of viewing the winter landscape of Jinshanling crossed by the northern Great Wall. The artists utilize the raw materials used to build it to reflect on the ongoing transformation of the local natural environment, while also pointing to the broader, deeply rooted history of industrial extraction in the Hebei region, its relation to the embodied natural landscape and the beings that inhabit it.
