Japanese persimmons are grown in abundance in Dongshi, Taichung. Residents dry the persimmons to preserve them for longer. They can then be enjoyed in the winter months. Unlike Hsinchu persimmons, persimmons from Dongshi are hung out to dry in the sun. The persimmons are tied onto a rope like Christmas lights, creating a sense of orange-colored blissfulness. The dried persimmons are then packed with the best tastes of autumn.
Artist Hsiao Chu-Fang hopes to use her paintings to record the scenery and impressions of Dongshi through her travels. The verdant mountains and misty fog are used as the background to set off the various orange persimmons. Farmers in Dongshi live in a symbiotic relationship with nature. From season to season, generation to generation, they learn how to preserve the gifts of nature, and then distribute it to family and friends. Through the mundane and repeated events in life, heritage and blessings are passed on, with the hope that later generations will live a fruitful and successful life.

The Opera House embodies a kind of urban utopia. The large and small theaters contained within each exist in a kind of parallel universe. Various stories are conveyed to the audience in this space. As the primary venue of entertainment of the early aristocracy, the spaces are transformed into gorgeous and illusory performance halls, and the romantic spirit of the classical period continues even into modern life today, producing works of exquisite cultural taste. The opera house is like a nest for all romantic sentiments, and such sentiments have been shaped into contemporary utopian reality.

Lee Pei-Shan’s 500 Years shows a magical theme park with a unique yet disorienting composition, depicting a massive tree with branches spreading across the sky that reach into other bizarre worlds. This work is inspired by a trip to a botanical garden where the guide introduced an orchid with only 2 leaves but capable of surviving five centuries with that alone. Lee Pei-Shan suddenly realized that the visitors’ lives may be only a mere flash when compared to the incredibly long lifespan of the 2-leaf orchid. Lee Pei-Shan also uses bright, brilliant colors to highlight the interesting elements of human coexistence with the natural world.

Fragmented Collections diverge from the customary practice of painting directly on a stretched canvas. It is more akin to a personal experience and observations of the phenomenons of an era in time. It records events (diaries and images) in stages, perhaps even some everyday events or fantasies that only deserve slight notice. The inspiration is then painted directly on a large scroll of canvas, and then cut into blocks with no fixed sizes or shapes. The work is made from images and text recorded in travel essays, or images developed in the mind, and then transformed into a travel puzzle. It does not refer to any specific place or event, but the embodiment of all the feelings and experiences that happened in the city, manifested on a canvas.

The Window Cutting Project is the result of an exchange between the artist and netizens. She invited online participants to send in a photo of a window scene they often see, and then based on the conversation with them, she combined personal anecdotes and emotional elements to cut out a 15 square centimeter paper cutout and sent it back to the participant to paste on the window. The overall work presents the overlapping of the artist's imaginary window scenes with the real landscape in 3D form, reflecting the multiple connotations of time and space, and communication between people.

The color and composition of "Golden Years" is based on the memory of the artist’s school stationery " Paak Zi Book "(拍子簿) from childhood (Hong Kong in the 1970s), which is actually a notebook, writing-pad or doodling book. Through the combination of photography and computerized embroidery, using a dense number of stitches (about 350,000 to 450,000 stitches per piece) to overlap and interweave the embroidery threads, the artist has created a botanical embroidery piece that looks out-of-focus up close and clear from afar; succulents also bloom, but some will wither after a few hours of blooming. The flowering time is so short that we can easily miss the beauty of the blooming flowers. Each piece speaks to the lifecycle of the plants and is proof of the blissful days.

In this post-pandemic era, travel seems necessary for our collective healing. With travel to Japan currently closed, for its third exhibition on the theme of imaginary travel, GLAb has come up with idea of a “souvenir exchange.” Twelve creators from Japan and Taiwan participate in assembling a souvenir package filled with items they believe best represent the appearance, mood, and character of the cities in which they reside. These packages are then gifted to other participants who follow the clues highlighted by the souvenirs to embark on a voyage of urban spaces within the realm of the imagination.