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Salon des Refusés I

Salon des Refusés I

Salon des
Refusés I

A space for works yet to be seen.

A space for works yet to be seen.

A space for works yet to be seen.

AYELEN CERDA - CHUNGHA LIM - HARRIET HORNER - WILLIAM LOWRY - YANNIE YIYANG GU - YIMING ZHU - YOORARA

AYELEN CERDA - CHUNGHA LIM - HARRIET HORNER - WILLIAM LOWRY - YANNIE YIYANG GU -
YIMING ZHU - YOORARA

AYELEN CERDA - CHUNGHA LIM - HARRIET HORNER - WILLIAM LOWRY - YANNIE YIYANG GU - YIMING ZHU - YOORARA

06.10 - 20.10.26

06.10 - 20.10.26

06.10 - 20.10.26

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artists bio

artists bio

references

references

Hands-on is delighted to present Salon des Refusés I, the second online exhibition of works by Ayelen Cerda, Chungha Lim, Harriet Horner, William Lowry, Yannie Yiyang Gu, Yiming Zhu, and YooRaRa.

Hands-on is delighted to present Salon des Refusés I, the second online exhibition of works by Ayelen Cerda, Chungha Lim, Harriet Horner, William Lowry, Yannie Yiyang Gu, Yiming Zhu, and YooRaRa.

Hands-on is delighted to present Salon des Refusés I, the second online exhibition of works by Ayelen Cerda, Chungha Lim, Harriet Horner, William Lowry, Yannie Yiyang Gu, Yiming Zhu, and YooRaRa.

Salon des Refusés brings together seven candidates shortlisted for the Hands-on Residency, each presenting works that offer a glimpse into their practice. Diverse in medium, technique and subject matter, the works come together to create a portrait of the breadth, diversity and distinct perspectives of a new generation of artists.

The exhibition takes its name from the historic Salon des Refusés, held in Paris in 1863 under Napoleon III, which brought together works that had not been admitted to the official Salon. What began as a parallel exhibition became an important milestone in the history of modern art, opening the public to new artistic languages that challenged the conventions of their time.

In a similar spirit, Salon des Refusés offers a space to encounter a selection of creative approaches and sensibilities, bringing together works that reveal the richness and variety of contemporary artistic voices.

Salon des Refusés brings together seven candidates shortlisted for the Hands-on Residency, each presenting works that offer a glimpse into their practice. Diverse in medium, technique and subject matter, the works come together to create a portrait of the breadth, diversity and distinct perspectives of a new generation of artists.

The exhibition takes its name from the historic Salon des Refusés, held in Paris in 1863 under Napoleon III, which brought together works that had not been admitted to the official Salon. What began as a parallel exhibition became an important milestone in the history of modern art, opening the public to new artistic languages that challenged the conventions of their time.

In a similar spirit, Salon des Refusés offers a space to encounter a selection of creative approaches and sensibilities, bringing together works that reveal the richness and variety of contemporary artistic voices.

Salon des Refusés brings together seven candidates shortlisted for the Hands-on Residency, each presenting works that offer a glimpse into their practice. Diverse in medium, technique and subject matter, the works come together to create a portrait of the breadth, diversity and distinct perspectives of a new generation of artists.

The exhibition takes its name from the historic Salon des Refusés, held in Paris in 1863 under Napoleon III, which brought together works that had not been admitted to the official Salon. What began as a parallel exhibition became an important milestone in the history of modern art, opening the public to new artistic languages that challenged the conventions of their time.

In a similar spirit, Salon des Refusés offers a space to encounter a selection of creative approaches and sensibilities, bringing together works that reveal the richness and variety of contemporary artistic voices.

Chungha Lim

Stage With a Hole Under the Tree, 2019
Oil on canvas
160 x 274 cm


Not for sale

Chungha Lim

Stage With a Hole Under the Tree, 2019
Oil on canvas
160 x 274 cm


Not for sale

Chungha Lim

Stage With a Hole Under the Tree, 2019
Oil on canvas
160 x 274 cm


Not for sale

Although 6 AM and 6 PM sit at diametrical ends of the day - one greeting the sun,  the other bidding it farewell - their light and atmosphere share an uncanny resonance. It almost feels as though a quiet portal could split open between these two mirroring hours.


— Chungha Lim

Although 6 AM and 6 PM sit at diametrical ends of the day - one greeting the sun,  the other bidding it farewell - their light and atmosphere share an uncanny resonance. It almost feels as though a quiet portal could split open between these two mirroring hours.


— Chungha Lim

Although 6 AM and 6 PM sit at diametrical ends of the day - one greeting the sun,  the other bidding it farewell - their light and atmosphere share an uncanny resonance. It almost feels as though a quiet portal could split open between these two mirroring hours.


— Chungha Lim

William Lowry

The Courthouse, 2025
Etching and aquatint on Fabriano paper
20 x 30 cm plate mark; 35.5 x 49 cm paper dimensions

£ 400

William Lowry

The Courthouse, 2025
Etching and aquatint on Fabriano paper
20 x 30 cm plate mark; 35.5 x 49 cm paper dimensions

£ 400

William Lowry

The Courthouse, 2025
Etching and aquatint on Fabriano paper
20 x 30 cm plate mark; 35.5 x 49 cm paper dimensions

£ 400

Enquire

Enquire

William Lowry

Magi, 2025
Etching and aquatint on Fabriano paper
20 x 30 cm plate mark; 35.5 x 49 cm paper dimensions

£ 400

William Lowry

Magi, 2025
Etching and aquatint on Fabriano paper
20 x 30 cm plate mark; 35.5 x 49 cm paper dimensions

£ 400

William Lowry

Magi, 2025
Etching and aquatint on Fabriano paper
20 x 30 cm plate mark; 35.5 x 49 cm paper dimensions

£ 400

Enquire

Enquire

Anonymous figures, soldiers, athletes, workers, boys, appear caught between performance and vulnerability. They inhabit city edges spliced with older structures: watchtowers, domes, arches, floodlights. These settings borrow from visionary and monumental architecture, from Boullée’s impossible gravity to Sant’Elia’s Futurist infrastructures, to stage the body inside larger fantasies of progress, power, and ruin.

— William Lowry

Anonymous figures, soldiers, athletes, workers, boys, appear caught between performance and vulnerability. They inhabit city edges spliced with older structures: watchtowers, domes, arches, floodlights. These settings borrow from visionary and monumental architecture, from Boullée’s impossible gravity to Sant’Elia’s Futurist infrastructures, to stage the body inside larger fantasies of progress, power, and ruin.

— William Lowry

Anonymous figures, soldiers, athletes, workers, boys, appear caught between performance and vulnerability. They inhabit city edges spliced with older structures: watchtowers, domes, arches, floodlights. These settings borrow from visionary and monumental architecture, from Boullée’s impossible gravity to Sant’Elia’s Futurist infrastructures, to stage the body inside larger fantasies of progress, power, and ruin.

— William Lowry

Harriet Horner

Encore, 2025
Diptych - Oil on canvas
120 x 90 cm (each)


£ 5,000

Harriet Horner

Encore, 2025
Diptych - Oil on canvas
120 x 90 cm (each)


£ 5,000

Harriet Horner

Encore, 2025
Diptych - Oil on canvas
120 x 90 cm (each)


£ 5,000

Enquire

Enquire

I am particularly interested in the point at which nostalgia becomes uncanny. Familiar images can act as containers for collective memory, but when removed from their original context they can reveal the ideological or emotional structures beneath them. The fairytale transformation that never occurs, the performer who appears after the performance has ended, the character caught without a narrative - these become ways of thinking about contemporary experiences of suspended possibility.


— Harriet Horner

I am particularly interested in the point at which nostalgia becomes uncanny. Familiar images can act as containers for collective memory, but when removed from their original context they can reveal the ideological or emotional structures beneath them. The fairytale transformation that never occurs, the performer who appears after the performance has ended, the character caught without a narrative - these become ways of thinking about contemporary experiences of suspended possibility.


— Harriet Horner

I am particularly interested in the point at which nostalgia becomes uncanny. Familiar images can act as containers for collective memory, but when removed from their original context they can reveal the ideological or emotional structures beneath them. The fairytale transformation that never occurs, the performer who appears after the performance has ended, the character caught without a narrative - these become ways of thinking about contemporary experiences of suspended possibility.


— Harriet Horner

Yannie Yiyang Gu
Dancers, 2026

Gouache, oil pastel, color pencil on wood

25.4 × 20.3 cm

$ 800

Yannie Yiyang Gu
Dancers, 2026

Gouache, oil pastel, color pencil on wood

25.4 × 20.3 cm

$ 800

Yannie Yiyang Gu
Dancers, 2026

Gouache, oil pastel, color pencil on wood

25.4 × 20.3 cm

$ 800

Enquire

Enquire

Yannie Yiyang Gu
Garden of Mirage, 2026

Gouache, oil pastel, color pencil on wood

61 × 45.7 cm

$ 1,500

Yannie Yiyang Gu
Garden of Mirage, 2026

Gouache, oil pastel, color pencil on wood

61 × 45.7 cm

$ 1,500

Yannie Yiyang Gu
Garden of Mirage, 2026

Gouache, oil pastel, color pencil on wood

61 × 45.7 cm

$ 1,500

Enquire

Enquire

Yannie Yiyang Gu
The Arrival of Light, 2026

Gouache, oil pastel, color pencil on wood

25.4 × 20.3 cm

$ 900

Yannie Yiyang Gu
The Arrival of Light, 2026

Gouache, oil pastel, color pencil on wood

25.4 × 20.3 cm

$ 900

Yannie Yiyang Gu
The Arrival of Light, 2026

Gouache, oil pastel, color pencil on wood

25.4 × 20.3 cm

$ 900

Enquire

Enquire

For a long time, I have been searching for an ultimate experience of loving someone and being loved in its ecstatic and enduring form, within a world defined by impermanence. Perhaps this intensity is as fleeting as the blooming of an ephemeral flower, yet my work seeks to capture the slightest trace of that moment as it passes through time. If this love were to take shape in a tangible world, what would it look like?


— Yannie Yiyang Gu

For a long time, I have been searching for an ultimate experience of loving someone and being loved in its ecstatic and enduring form, within a world defined by impermanence. Perhaps this intensity is as fleeting as the blooming of an ephemeral flower, yet my work seeks to capture the slightest trace of that moment as it passes through time. If this love were to take shape in a tangible world, what would it look like?


— Yannie Yiyang Gu

For a long time, I have been searching for an ultimate experience of loving someone and being loved in its ecstatic and enduring form, within a world defined by impermanence. Perhaps this intensity is as fleeting as the blooming of an ephemeral flower, yet my work seeks to capture the slightest trace of that moment as it passes through time. If this love were to take shape in a tangible world, what would it look like?


— Yannie Yiyang Gu

YooRaRa

너의 메아리-Your Echo, 2025

Oil on wood

40.6 x 30.5 cm


$ 1,200

YooRaRa

너의 메아리-Your Echo, 2025

Oil on wood

40.6 x 30.5 cm


$ 1,200

YooRaRa

너의 메아리-Your Echo, 2025

Oil on wood

40.6 x 30.5 cm


$ 1,200

Enquire

Enquire

YooRaRa

너의 메아리-Your Echo, 2025

Oil on wood

40.6 x 30.5 cm


$ 1,200

YooRaRa

너의 메아리-Your Echo, 2025

Oil on wood

40.6 x 30.5 cm


$ 1,200

YooRaRa

너의 메아리-Your Echo, 2025

Oil on wood

40.6 x 30.5 cm


$ 1,200

Enquire

Enquire

I am particularly interested in how women, goddesses, shamans, and other spiritual figures have been represented, suppressed, or forgotten throughout history. These references shape my exploration of femininity, spirituality, ritual, mourning, and the recovery of erased narratives.

— YooRaRa

I am particularly interested in how women, goddesses, shamans, and other spiritual figures have been represented, suppressed, or forgotten throughout history. These references shape my exploration of femininity, spirituality, ritual, mourning, and the recovery of erased narratives.

— YooRaRa

I am particularly interested in how women, goddesses, shamans, and other spiritual figures have been represented, suppressed, or forgotten throughout history. These references shape my exploration of femininity, spirituality, ritual, mourning, and the recovery of erased narratives.

— YooRaRa

Yiming Zhu

Fu Sang, 2026
Inkjet print on Awagami Bamboo paper, gold leaf paper, tin foil, wooden frame
35 x 23 cm


Price on request

Yiming Zhu

Fu Sang, 2026
Inkjet print on Awagami Bamboo paper, gold leaf paper, tin foil, wooden frame
35 x 23 cm


Price on request

Yiming Zhu

Fu Sang, 2026
Inkjet print on Awagami Bamboo paper, gold leaf paper, tin foil, wooden frame
35 x 23 cm


Price on request

Enquire

Enquire

Yiming Zhu

Skin I, 2026

Giclée print on hahnemühle paper, mulberry silk fabric, wooden frame

61 x 45 cm


Price on request

Yiming Zhu

Skin I, 2026

Giclée print on hahnemühle paper, mulberry silk fabric, wooden frame

61 x 45 cm


Price on request

Yiming Zhu

Skin I, 2026

Giclée print on hahnemühle paper, mulberry silk fabric, wooden frame

61 x 45 cm


Price on request

Enquire

Enquire

Yiming Zhu

Skin II, 2026

Giclée print on hahnemühle paper, mulberry silk fabric, wooden frame

61 x 45 cm


Price on request

Yiming Zhu

Skin II, 2026

Giclée print on hahnemühle paper, mulberry silk fabric, wooden frame

61 x 45 cm


Price on request

Yiming Zhu

Skin II, 2026

Giclée print on hahnemühle paper, mulberry silk fabric, wooden frame

61 x 45 cm


Price on request

Enquire

Enquire

I have always been fascinated by the spirituality of matter. It is not merely about the objects themselves, but rather about what remains unseen, including the emotions they evoke, the cultural background they carry, and the labour memory embedded within them.


— Yiming Zhu

I have always been fascinated by the spirituality of matter. It is not merely about the objects themselves, but rather about what remains unseen, including the emotions they evoke, the cultural background they carry, and the labour memory embedded within them.


— Yiming Zhu

I have always been fascinated by the spirituality of matter. It is not merely about the objects themselves, but rather about what remains unseen, including the emotions they evoke, the cultural background they carry, and the labour memory embedded within them.


— Yiming Zhu

Ayelen Cerda
tristes trópicos - Guanabara after Lévi-Strauss, 2026

Oil on wood board

169 x 122 cm

£ 4,650

Ayelen Cerda
tristes trópicos - Guanabara after Lévi-Strauss, 2026

Oil on wood board

169 x 122 cm

£ 4,650

Ayelen Cerda
tristes trópicos - Guanabara after Lévi-Strauss, 2026

Oil on wood board

169 x 122 cm

£ 4,650

Enquire

Enquire

I like to think of art as the aesthetic language of philosophy. a language that requires one to unlearn the way we understand the world, to see it through the perception of the artist.

— Ayelen Cerda

I like to think of art as the aesthetic language of philosophy. a language that requires one to unlearn the way we understand the world, to see it through the perception of the artist.

— Ayelen Cerda

I like to think of art as the aesthetic language of philosophy. a language that requires one to unlearn the way we understand the world, to see it through the perception of the artist.

— Ayelen Cerda

References

References

CHUNGHA LIM


  1. Mike Kelley

  2. Lois Dodd

  3. Take My Breath Away — Dahn Vo at Guggenheim Museum, NYC

  4. Journey of Souls : Case Studies of Life Between Lives — Michael Newton

  5. One Art — Elizabeth Bishop

CHUNGHA LIM


  1. Mike Kelley

  2. Lois Dodd

  3. Take My Breath Away — Dahn Vo at Guggenheim Museum, NYC

  4. Journey of Souls : Case Studies of Life Between Lives — Michael Newton

  5. One Art — Elizabeth Bishop

CHUNGHA LIM


  1. Mike Kelley

  2. Lois Dodd

  3. Take My Breath Away — Dahn Vo at Guggenheim Museum, NYC

  4. Journey of Souls : Case Studies of Life Between Lives — Michael Newton

  5. One Art — Elizabeth Bishop

WILLIAM LOWRY


  1. Francisco Goya

  2. Giorgio de Chirico

  3. Étienne-Louis Boullée

  4. Outer Dark — Cormac McCarthy

  5. No Future: Queer Theory and the Death Drive — Lee Edelman

WILLIAM LOWRY


  1. Francisco Goya

  2. Giorgio de Chirico

  3. Étienne-Louis Boullée

  4. Outer Dark — Cormac McCarthy

  5. No Future: Queer Theory and the Death Drive — Lee Edelman

WILLIAM LOWRY


  1. Francisco Goya

  2. Giorgio de Chirico

  3. Étienne-Louis Boullée

  4. Outer Dark — Cormac McCarthy

  5. No Future: Queer Theory and the Death Drive — Lee Edelman

HARRIET HORNER


  1. This Young Monster — Charlie Fox

  2. Man and His Symbols: Approaching the Unconscious — Carl G. Jung

  3. Eyes Wide Shut — Stanley Kubrick

  4. Andrew Wyeth

  5. Noah Davis

HARRIET HORNER


  1. This Young Monster — Charlie Fox

  2. Man and His Symbols: Approaching the Unconscious — Carl G. Jung

  3. Eyes Wide Shut — Stanley Kubrick

  4. Andrew Wyeth

  5. Noah Davis

HARRIET HORNER


  1. This Young Monster — Charlie Fox

  2. Man and His Symbols: Approaching the Unconscious — Carl G. Jung

  3. Eyes Wide Shut — Stanley Kubrick

  4. Andrew Wyeth

  5. Noah Davis

YANNIE YIYANG GU


  1. Devotions — Mary Oliver

  2. Tibetan Buddhist paintings

  3. Dunhuang Cave paintings

  4. Cy Twombly

  5. Joan Mitchell

YANNIE YIYANG GU


  1. Devotions — Mary Oliver

  2. Tibetan Buddhist paintings

  3. Dunhuang Cave paintings

  4. Cy Twombly

  5. Joan Mitchell

YANNIE YIYANG GU


  1. Devotions — Mary Oliver

  2. Tibetan Buddhist paintings

  3. Dunhuang Cave paintings

  4. Cy Twombly

  5. Joan Mitchell

YOORARA


  1. Goddess Movement

  2. Korean shamanism (Muism)

  3. Korean mythology

  4. Occult traditions

  5. History of witch hunts

YOORARA


  1. Goddess Movement

  2. Korean shamanism (Muism)

  3. Korean mythology

  4. Occult traditions

  5. History of witch hunts

YOORARA


  1. Goddess Movement

  2. Korean shamanism (Muism)

  3. Korean mythology

  4. Occult traditions

  5. History of witch hunts

YIMING ZHU


  1. Fusang (Mythical world tree)

  2. Leizu (Silkworm Goddess in China)

  3. The story of silk — Dr John Feltwell 

  4. Folklore of mulberry silk

  5. Dunhuang Star Chart

YIMING ZHU


  1. Fusang (Mythical world tree)

  2. Leizu (Silkworm Goddess in China)

  3. The story of silk — Dr John Feltwell 

  4. Folklore of mulberry silk

  5. Dunhuang Star Chart

YIMING ZHU


  1. Fusang (Mythical world tree)

  2. Leizu (Silkworm Goddess in China)

  3. The story of silk — Dr John Feltwell 

  4. Folklore of mulberry silk

  5. Dunhuang Star Chart

AYELEN CERDA


  1. Roberto Burle Marx

  2. Lygias Pape

  3. Parajanov’s visual poetry

  4. Terra em Transe — Glauber Rocha

  5. Arab Apocalypse — Etel Adnan

AYELEN CERDA


  1. Roberto Burle Marx

  2. Lygias Pape

  3. Parajanov’s visual poetry

  4. Terra em Transe — Glauber Rocha

  5. Arab Apocalypse — Etel Adnan

AYELEN CERDA


  1. Roberto Burle Marx

  2. Lygias Pape

  3. Parajanov’s visual poetry

  4. Terra em Transe — Glauber Rocha

  5. Arab Apocalypse — Etel Adnan

Group exhibition: Salon des Refusés

06 - 20 October 2026

Group exhibition: Salon des Refusés

06 - 20 October 2026

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