CHICAGO, IL, UNITED STATES, January 1, 2026 /EINPresswire.com/ — Young artist Jin Yinuo’s solo exhibition “Pudú (Raw Jade & Its Casket)” successfully concluded, sparking widespread discussion about the creative power of Generation Z.
On the evening of August 24th, the solo exhibition “Pudú” by young artist Jin Yinuo officially concluded at Nuoya Collection in Shanghai. According to the gallery’s statistics, the exhibition attracted over 1,000 visitors in total. A themed salon held during the exhibition also drew a large audience. Through various media forms, the exhibition explored the relationship between “external form” and “inner essence”, leaving a lasting impression on many ordinary visitors and making them remember this young creator who excels at extracting philosophical insights from daily life.
Since its opening on August 7th, this exhibition has consistently maintained high attention. The “narrative framework” composed of 10 oil paintings, one video work, and one installation takes the dialectical relationship between “raw jade (unpolished essence)” and “casket (external form)” as the clue, allowing viewers to experience the creative logic through the switch of different media. In the oil painting series “Prophecy,” A Dream of Red Mansions—a classic of traditional Chinese culture—served as the artist’s inspiration, and four of these paintings became frequent subjects for visitors to take photos. Although the video work “Rite of Passage” has no narration throughout, its surreal content made many people stop and watch repeatedly.
The most eye-catching installation of the exhibition, “ETA Unknown, Hrs Unknown, KM Unknown”, captured everyone’s attention as soon as it was unveiled. “Every tap from the audience is a process of ‘completing’ the artwork,” Jin Yinuo said during the final salon before the closing ceremony. “None of us can fully articulate our innermost thoughts, and others cannot fully comprehend the expressions from an individual. However, they will resonate with parts that share similar experiences. Every story evolves into a new one when passed on to a new listener. We are all both listeners and storytellers to each other, and my way of telling stories is through oil paintings and art installations.”
Curator Gao Ersheng mentioned when reviewing the exhibition that the popularity of “Pudú” exceeded expectations. The exhibition was originally scheduled for only 5 days, but due to strong demands from the audience, the venue and the organizers negotiated to extend the exhibition period by 14 days. The reason why “Pudú” resonated so deeply is precisely that it touched the collective contemplation of “the relationship between internal and external” among people today. “Jin Yinuo did not use obscure artistic symbols; the birds she painted and the ladders she constructed are all common things in daily life. But she hid the profound topic of ‘form and substance’ in these ordinary objects, allowing viewers to easily engage with the works and leave with some reflections.”
The successful conclusion of “Pudú” has further strengthened the determination of the person in charge of Nuoya Collection to support young creators. “Compared to data, what is even more precious is the discussions in the exhibition hall—some viewers debated ‘what the ladder symbolizes in the art installation,’ and some young people argued with friends about ‘the relationship between the plot of A Dream of Red Mansions and the paintings.’ This kind of accessible artistic resonance is precisely the vibrant power that young artists can bring.”
On the closing day, many visitors still came specially. Some lingered in front of the oil paintings for a long time, while others watched the video installation “Rite of Passage” for the last time. As Jin Yinuo saw off the visitors at the entrance of the exhibition hall, she clutched a notebook filled with notes in her hand: “This is not the end. The ‘questions’ in these notes may be the starting point of my next creation.”
Yinuo Yolanda Jin
Yinuo Yolanda Jin
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