I decided to take the longest way to cross the street
Hong Shu-ying, Lai Chin Chih, Li Fang Yin, Ryan Lim Zi Yi, Jeremy Sharma
Group Exhibition
20 – 28 Dec 2025, 11am – 7pm
“I don’t remember too, I just remember this line being very memorable when I read it in the subtitles. I don’t even remember how it was said, how it sounded, who said it and what context.”
"I decided to take the longest way to cross the street" is a title that came about one afternoon after a conversation between Ryan Lim Zi Yi, Hong Shu-ying and Jeremy Sharma in the East Coast, while discussing the possibilities of doing an exhibition together about the cinematic qualities that creep into the fabric of everyday lived experience. How are banal moments remembered and re-contexualised on various mediums to reveal possibilities of fiction, fantasy or imagination?
The title, suggested by Ryan, sits ambiguously or drifts restlessly like liquid air—part quote, part unfinished sentence—borrowed from Blueberry Nights, a film by Wong Kar Wai. It is intentionally kept open-ended to allow for slippages, affects and resonances that mirror the artworks.
This exhibition is also part of a bilateral exchange that introduces invited Taiwanese artists Li Fang Yin and Lai Chin Chi to the mix. Both Jeremy and Ryan have shown at Carp Gallery (Taichung), run by Fang Yin, while Shu-ying has exhibited both in Taichung and within Taipei’s art book scene in the last few years.
Featuring new and existing works across painting, sculpture, video installation, and photography, the exhibition assembles a mise-en-scène of contemporary life—an evocative glimpse into the quiet, inescapable moments that define our present.
About the Artist(s)
Li Fang Yin
Li Fang Yin was born in Kaohsiung, Taiwan in 1994. She graduated from Tunghai University Fine Arts department in 2016 and Chelsea College of Arts (UAL) Fine Arts department in 2017. From the year of 2018-2020 she worked with the team of Taichung Liu Art Museum, and in 2021 she founded Carp Gallery. She currently lives and works in Taichung.Li Fang Yin's works focus on narrative and methods to narrate. Her contents come from memory writing and observation. Through texts, paintings, and installations, she breaks the structure away from the dimension of reading texts. By scattering various aspects of the story—the obscureness of memory, the lightness and heaviness of narrative rhythm—across space and materials, bringing individual emotional memories into a poetic space that resonates.
Hong Shu-ying
Hong Shu-ying 方舒颖 collects makes works by reframing and reencountering traces left by others and by time. Her projects often take the form of books, moving images, or other ensembles of printed matter.
Her process investigates how knowledge and memory take shape and find continuity across different times and spaces. She is especially curious about how we learn and create through amateur practices and everyday acts that are unintentionally recorded. This interest stems from her formative years in amateur Chinese orchestras and her immersion in internet culture.
Alongside her artistic practice, Shu initiates and produces projects that expand how we encounter art and art books. A long-term project is Part Time Book Club, a collective with Mingli Seet that organises irregular gatherings for sharing and discovering art books.
Hong Shu-ying received the Kwek Leng Joo Prize of Excellence in Photography and was featured in the 6th Women in Film and Photography Showcase by Objectifs Centre for Photography and Film (Singapore). She recently presented two solo exhibitions—at Esplanade (Singapore) during Singapore Art Week 2024, and at Yao Alternative Space (Taiwan).
Jeremy Sharma
Jeremy Sharma works with painting and writing, with side interests in music and filmmaking.
He has exhibited widely and his career highlights include solo exhibitions and presentations Recent Paintings (2024) with Haridas Contemporary; Spectrum Version 2.2 with Sullivan+Strumpf Gallery (2017); Orbiter and Sonata with Michael Janssen Gallery, Berlin (2016); Apropos at the Institute of Contemporary Arts Singapore (2012); the Busan Biennale (2014) and the Singapore Biennale (2013). He runs bulanujung, an experimental curatorial platform and his first publication Slander!—An investigation into auto-theory through six Malayan films was released in 2024 with Set Margins (The Netherlands).
Jeremy has also participated in residencies in The Netherlands, India, Italy, Mexico, the Philippines and the UK. He currently teaches with the McNally School of Fine Arts at the LASALLE College of the Arts.
www.jeremysharma.com
Ryan Lim Zi Yi
Ryan Lim Zi Yi (b. Singapore) explores the rhythms of the unspectacular through his installations of images, sculpture, and text. His practice draws from moments and encounters from what lingers in the background of public and private spaces. Working with ordinary materials and subtle gestures, he reconfigures these traces into narratives and forms that feel both familiar and distant, revealing the unnoticed as something tender and worth remembering.
His works have been exhibited internationally at Carp Gallery (Taiwan), Plague Space (Russia), and LivingRoom (Netherlands); and in Singapore with Whitestone Gallery, Temporary Unit, I_S_L_A_N_D_S, Comma Space, Objectifs, DECK and Starch.
His curatorial practices include Robin (2022-2023), a series of exhibitions presented in camping tents pitched in various locations across Singapore. Currently, he runs a curatorial publication, BACKYARD, a 7 volume subscription-based publication housing artists reports of happenings and news around Singapore. BACKYARD is an idea for an art space in the form of a folder.
Lai Chin Chih
Born in 1993 in Taiwan. Lives and works in Taichung. His practice often originates from the indifferent movements of daily life and the unconscious wandering within lived experience. In the three-dimensional space of reality, unintentional gestures and unexpected encounters occasionally allow the subject to momentarily detach from chaos and glimpse a simple form of bodily perception—one that has yet to be washed over by information.
He views objects as outcomes shaped by a series of human and non-human operations. By examining their coordinates and environments within human activity, he explores the non-human spatial ecologies that exist in the gaps of everyday life. His works frequently employ found objects as materials and are realized through video or spatial installations.