展览预告 | 孤独的房间 · THE LONELY ROOM

孤独的房间

THE LONELY ROOM

NONE PROJECT 荣幸宣布将于2026年6月3日起在上海M50空间呈现艺术家王捍中的个展「孤独的房间 · THE LONELY ROOM」。

NONE PROJECT is honored to present artist Wang Hanzhong’s solo exhibition 「THE LONELY ROOM」, opening June 3, 2026, at M50 Shanghai.  

About the Artist

Wang Hanzhong pursued his graduate studies in Fine Arts at Shanghai Normal University from 2007 to 2010, where he studied comprehensive painting and watercolor under Professor Liu Yaping. In 2008, he held his first solo exhibition, the Lingering series of mixed-media works, curated by the U.S.-based Lotus Gallery at Shanghai’s West Suburb Villa. From 2010 to 2020, he focused primarily on watercolor and pastel. Since 2020, he has studied oil painting at the China National Academy of Painting under the guidance of artist Zhao Peizhi. His works in watercolor, pastel, and oil have been featured in numerous exhibitions organized by the China Artists Association and the Shanghai Artists Association, with several pieces held in institutional and private collections.    

“Before moving to Beijing, I created the 「The Lonely Room」 series. Then the pandemic hit, I moved north to focus on oil painting, and the series was put on hold. Returning to these works years later, I still see their imperfections—but they also hold the most authentic expressions of who I was then. To finally share them now feels like the kindest arrangement time could offer.”   

 — Wang Hanzhong 

Working primarily in pastel, Wang Hanzhong transforms intimate interiors into tender, dreamlike visions. Bathrooms, windowsills, empty chairs, and hazy figures shed the sharp edges of reality, dissolving into softly blended fields of emotion. He masterfully harnesses the medium’s delicate powdery texture and fluid transitions: smudged, blended colors erase hard outlines, while muted pinks, mint greens, and warm whites weave together in a misty, ethereal haze. Filtered through the soft lens of memory, each room becomes a vessel where time stands still.    

His approach is a gentle deconstruction of representation: rather than rendering details, he layers low-saturation hues in light, sweeping strokes, diffusing harsh light and shadow to keep the scene suspended between what is real and what is imagined. A figure in the tub, light through the window, a hanging lamp—these elements lose clear narrative purpose in their blurred rendering, instead becoming pure vessels for solitude. These softened interiors are both slices of everyday life and mirrors of the inner self; every hazy brushstroke captures the quiet weight of being alone, inviting viewers to see their own reflections in the familiar spaces.    

In Wang Hanzhong’s pastel world, loneliness is not cold isolation, but a soft state of being with oneself. With these dreamlike, tender images, he wraps every lonely room in a quiet, gentle glow.