Studio Shuiuiuii

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28/04/2026

What does it look like when ambition is actually shame in disguise?
This is the second of four books I read to prepare for my painting series A Certain Distance. And this one gave me my main character.
Casey Han graduates from Princeton with no money and too much pride. She moves to New York surrounded by investment bankers and people with family wealth — and refuses every offer of help. Her parents run a dry cleaning business in Queens. Her younger sister is obedient, careful, doing everything right. And Casey is somewhere in between — sharp enough to see the neediness and insecurity in everyone around her, but not quite able to see her own.
Her real passion is making hats. But her ambition keeps pulling her toward the things that look right — the prestigious connections, the right address, the things that put the most distance between her and Queens. The more she achieves, the more the distance grows between who she is and who she is performing.
Casey frustrated me personally as a reader. She repeats patterns. She self-sabotages. She can see the dead ends coming and walks into them anyway.
My character is different. She hustles until the end. She reaches the financial stability Casey never quite manages to hold onto. She wins.
And that is what makes the question harder.
Because if you make all the right moves — if you work hard enough, sacrifice enough, perform the right version of yourself for long enough — and you still end up standing in the rain in a pinstripe suit not knowing who you are anymore — then the problem was never the choices.
It was the distance between the life you built and the person you were when you started building it.
That distance is what my show is about.
Next: a book about what gets passed down when what you inherited is the feeling of not belonging.
A Certain Distance — Nocny Art Patrol, Warsaw. 08.05–05.06.2026.

I’m a Berlin-based figurative painter working with the construction of identitywithin image-driven environments.My paint...
28/04/2026

I’m a Berlin-based figurative painter working with the construction of identitywithin image-driven environments.
My paintings unfold as composed scenes – cinematic, controlled, and apparently complete, yet subtly unresolved beneath the surface.
I’m interested in how ideas of success, intimacy, and belonging are formed through images encountered before they are lived and how external models absorbed from film, fashion, and cultural narratives
shape perception and behavior over time.
The figures in my work move through spaces defined by aspiration and control,where identity is not fixed
but continuously constructed and maintained.
Recurring elements like reflections, water, vehicles, and architectural interiors stabilize the image while revealing its fragility. I focus on moments that extend slightly beyond their natural duration,situations that appear resolved yet begin to shift under closer attention. Rather than linear narrative,I build fragmented scenes that operate within a shared psychological framework.The tension between appearance and experience,between what is performed and what resists being contained,
runs through everything I make.
I live and work in Berlin.
Before painting full time,I spent many years designing desire for some of the world’s most recognized luxury and automotive brands.
The paintings are what I noticed.
Photography by .deluca

28/04/2026

Is it superficial to have a beauty pageant painting on your wall?
The Miss Chinatown pageants began in 1958. Chinese Americans were excluded, discriminated against, perceived as foreign regardless of how long they had been here. These pageants were created deliberately – to counter that perception.
These women weren’t competing for a crown. They were performing dignity for an audience that had already decided they didn’t deserve it.
The joy was real. The pressure was real. Both at the same time.
I cropped the sash deliberately. MISS CHINATOWN cut off before it completes. Because that is what kept happening. Seen partially. Named incompletely. Understood only up to the point where it became inconvenient to keep looking.
That is not superficial. That is one of the most psychologically complex things a human being can do: hold joy and pressure in the same body, smile for an audience that misreads you, and win anyway.
Superficial is easy to paint. This took something else entirely.
Crowning Gesture –from the series The Good Daughters.

Shuaitong Zong | A Certain Distance✨ OPENING: May 8, 7:00 PM📅 May 8 – June 6, 2026📍 Nocny Art Patrol, WarsawCurated by: ...
28/04/2026

Shuaitong Zong | A Certain Distance
✨ OPENING: May 8, 7:00 PM
📅 May 8 – June 6, 2026
📍 Nocny Art Patrol, Warsaw
Curated by: Agnieszka Gołębiewska and Mariusz Horanin
It seems that nothing can stop this girl on the tiger motorcycle. Behind her, the lights of office buildings against the night sky shift like Rubik’s cubes. This is the big city, and it has its own laws: you must be firm, strong, fast—simply the best. You march forward with confidence in your pinstriped suit. Moments of weakness? You splash your face in the bathroom; the cold water instantly reminds you what you are fighting for, how many obstacles you have already overcome, and what your goal is.
Shuaitong Zong transports us to a 1990s metropolis—a time of building careers regardless of the emotional toll. The artist analyzes how new environments force a negotiation of identity and the difficulty of maintaining individuality while adopting the rules of a new place. It is a world of constant pressure to work beyond mediocrity, often accompanied by longing and loneliness. The 1990s may be perceived today as an authentic, “human” era preceding the internet age. However, it was actually a turbulent period of aggressive capitalism and emerging globalization, devoid of psychological safeguards—much like the world of The Wolf of Wall Street.

As a creator of visual narratives, Zong crafts painterly stories about the individual caught within the world’s grand machinery. In this art, identity is complemented by nostalgia and a yearning for the past, both real and imagined.
The exhibition consists of non-linear stories where something occurred, yet could have unfolded differently.
Riding a motorcycle together may be a desire for control rather than commitment; self-confidence might only be a studied pose. The moment the carefully prepared facade collapses is like a water stain spreading across a carpet—a minor stimulus can turn the entire order upside down.

Join us for a journey through identity, nostalgia, and the restless pulse of the 90s.

28/04/2026

One image from literature has stayed with me for years.
Gatsby throws the most extravagant parties of the decade. When he dies, almost nobody comes to the funeral. Everyone could tell he was performing. They just enjoyed the party anyway.
The Great Gatsby is set in the 1920s, the American Dream at its most seductive and most brutal. A world divided between old money and new money. Old money is Daisy–inherited wealth, the kind of belonging you can’t buy your way into.
Gatsby was born James Gatz– poor, nobody, from nowhere. He invented himself completely. But Daisy wasn’t the goal. She was the proof. Old money choosing him would mean the reinvention had worked.
But the performance was always visible. To everyone except him.
This is the first of four books I read to prepare for my painting series A Certain Distance. My show is about that distance — between the image you construct and the person underneath it.
Next: the book that gave me my main character.
A Certain Distance,
Nocny Art Patrol, Warsaw.
08.05–05.06.2026.

27/04/2026

I suffer from a condition called underthinking-itis.
Symptoms include: quitting your job without a business plan, agreeing to shows before you have the work, starting a painting on a canvas that’s too small and continuing anyway.
Three months. Full time job. Five paintings for a group show. I raw dogged it. Produced an entire series. Some of my best work.
Most people spend so long deciding they never start. I start and figure it out on the way.
So far.
Okay but actually, here’s how it really works.
My friends ask me how I have so much fun and still produce this much. The answer is efficiency. Years in agency work taught me fast turnarounds. No perfectionism. Just production.
I don’t do sketches. I build a moodboard, make mockups, put a grid on the canvas. One trial. One production. Done.
Underthinking isn’t chaos. It’s removing everything that stands between the idea and the work.

27/04/2026

When was the last time you were fully in a moment? Not thinking about what comes next. Just there?
I can’t remember mine. I’m always living in the future. The next painting. The next show. The next thing. The beautiful moments pass while I’m already somewhere else.
This is my favorite painting in the show.
She’s driving through a starry night with someone she loves holding on behind her. It looks like a perfect moment. Somewhere underneath it, she’s already wondering how much longer it can last.
I painted her from memory. Not my memory. Hers.
I think I made this painting for myself.

A little longer — part of A Certain Distance.
160x110cm
Acrylic on canvas
Nocny Art Patrol, Warsaw.
08.05–05.06.2026.

26/04/2026

“If only I were not vain.”
She says it like a wish.
She says it like a fact.
She’s still on the tiger either way.
Ambition doesn’t care whether you’ve made peace with it.
It just moves.
And you hold on.
If Only I Were Not Vain — part of A Certain Distance.
Nocny Art Patrol, Warsaw. 08.05–05.06.2026.

25/04/2026

Is it a red flag to have four Ferraris on your wall?
This is my mum. They are not her car, unfortunately. She was at a Ferrari event in south Germany. She was just passing by. When she saw these beautiful beautiful car,She stopped and posed. When I saw this photo, I had to paint it for my upcoming about desire — about the things we pose in front of, perform for, reach toward. The ambition so bright you have to squint to look at it directly.
When she saw the finished painting, she said: you will be famous one day.

Is it tacky? Ask my mum.

3,2,1, Cheese — part of A Certain Distance.
160cm x 70cm
Acrylic on canvas
Nocny Art Patrol, Warsaw
08.05–05.06.2026

13/02/2026

Fishing for compliments or snacks

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