From 20 to 26 January 2026, artist BAISHUI will present her solo exhibition “Beyond Form” at London Art Fair, held at the Business Design Centre, London. As one of the UK’s most established platforms for contemporary art, London Art Fair provides an important context for BAISHUI to engage in dialogue with an international audience. Centered on water as a core motif, the exhibition brings together Eastern philosophy and contemporary visual language, unfolding a poetic inquiry into perception, existence, and the invisible forces that shape being.

The term Beyond Form originates from the Tao Te Ching, attributed to the ancient Chinese philosopher Laozi, and echoes the Taoist belief that “the loudest sound is soundlessness; the greatest form is formlessness.” Just as water flows beyond physical and cultural boundaries, BAISHUI’s practice seeks to move across geographies and contexts, opening a continuously unfolding dialogue between self and universe, presence and becoming. Grounded in her understanding of Confucianism, Buddhism, and Taoism, she translates traditional philosophy into a contemporary artistic language, allowing ancient wisdom to resonate within the present moment.

BAISHUI’s artistic language uniquely intertwines nature, technology, and culture, enabling viewers to sense the rhythms of life through the interplay of color, light, and movement. In her works, the boundaries between the real and the ethereal gradually dissolve, prompting reflection on the complex relationships between humanity and nature, technology and the self. Water—an ever-present motif throughout her artistic journey—is not only a subject but also a projection of her identity and thought. Each engagement with water becomes, in essence, a visual dialogue with her own philosophical reflections.

A major focus of the exhibition is BAISHUI’s ongoing series Infinite Dao: Water Towns, initiated in 2023. Continuing her long-term exploration of water as a central artistic theme, the series adopts more experimental approaches in both form and medium. Through geometric structures and abstract color fields, BAISHUI reconstructs the imagery of water towns, seeking the spiritual resonance of the Taoist principle “Dao follows nature” within the tension between reason and emotion, order and fluidity.

The concept of Infinite Dao derives from Daoist cosmology: “The Dao begets One, One begets Two, Two begets Three, and Three begets all things,” symbolizing the infinite pathways through which all creation unfolds. Adopting this idea, BAISHUI expresses the boundless evolution of nature and art—each work becoming a manifestation of the Dao, a tangible exploration of the intangible Way. She deconstructs a painting imbued with Daoist cultural heritage into three thousand fragments, subtly echoing the “three thousand” that signify the intricate myriad phenomena of existence. Each fragment represents a microscopic projection of the Dao. Through a proprietary algorithm, she then infuses each piece with rippling water patterns incorporating the Fibonacci spiral, allowing mathematical order to resonate with the principle of “Dao follows nature.” The fragments are finally reassembled through a synthesis of digital and manual processes, completing a cycle from division to unity, from rupture to regeneration— embodying both the creation of all things and the return to oneness.

The exhibition also presents BAISHUI’s installation Water 3.0 (2025), in which the logic of water is further embodied as a spatial experience. Rather than simulating the appearance of water, the work reveals the “behavior of water” itself—particles, flows, collisions, and transformations forming a network where order and disorder coexist, and where generation and evolution are continuous. Drawing on data from the tidal movements of the Qiantang River and the cascades of Niagara Falls, BAISHUI moves from the dynamics of tiny droplets and collisions to the grand flow of waterfalls, extending even to cosmic-scale imagination and the mysterious underwater world below the horizon. Through multidimensional observation and technological intervention, Water 3.0 (2025) invites viewers to reconsider water as a fundamental element—complex, energetic, and endlessly generative.

In the Raindrop series, BAISHUI resonates with the Confucian idea of “observing water to understand virtue,” capturing the fleeting beauty of rain while encouraging reflection on the humility of human existence within vast nature. In Taoist philosophy, still water is regarded as a metaphor for life’s highest state, its yielding softness and boundless strength embodying the Dao itself. BAISHUI’s works likewise guide viewers away from tangible form toward inner energy and the flow of life.

Within the highly dynamic context of London Art Fair, “Beyond Form” is a conceptual horizon toward which BAISHUI’s practice continually reaches. By navigating the fluid space between material presence and intangible meaning, her works invite viewers to reconsider the limits of perception itself. Water—simultaneously shapeless and ever-changing—becomes both medium and metaphor for this inquiry, guiding audiences to sense what lies beneath and beyond outward appearance.