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yihan pan

@pyhii

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𝙢𝙤𝙣𝙪𝙢𝙚𝙣𝙩 𝙩𝙤 𝙖 𝙗𝙤𝙙𝙮
2026, Details

Part of our residency at @aranyaartcenter
🪨

@jose.crd.l @pyhii by @pyhii

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8

6 months ago

24🎂🦋
Closing 23 by trading the lens for the brush. Lately, painting transparent creatures and old dreams.
So grateful for the dear friends, mentors, and curators who’ve had my back this year. Ready to keep creating at 24. >
Wishing you all the best. ✨
yihan
/
📷by @jose.crd.l by @pyhii

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111

5 months ago

Our Share of Night

oil on wood
20 × 30 cm
triptych by @pyhii

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6 months ago

𝑷𝒆𝒂𝒓𝒍 necklace
2026
oil on canvas, 40 × 60 cm
@pyhii
The flowers on the phalaenopsis orchid I’m growing stayed clustered together like that every day until they withered by @pyhii

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8 days ago

Celestial Sphere and Glass Sphere

Oil on wood, 20 × 40 cm, 2026
@pyhii

..Perhaps they are not so different.
🌍 taken in London, England by @pyhii

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17 hours ago

Whatever is secretly implicated shall likewise be secretly obliterated. /、
Summer is over…2026
oil on canvas, 60 × 90 cm
still finding its way

yihan pan @pyhii by @pyhii

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14 days ago

Some painting and time with my favourite people made for a pretty good Moon Festival. Hope everyone’s having a lovely one 🤍🩵🩶🩵🤍🐣🌝🎑🥮🥮 by @pyhii

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20 days ago

𝘼 𝙙𝙧𝙤𝙥 𝙤𝙛 𝙬𝙖𝙩𝙚𝙧 𝙤𝙣 𝙖 𝙛𝙚𝙖𝙩𝙝𝙚𝙧
oil on wood
30 × 40 cm
💧
playing with a microscope.
observing a drop of water through it.
then I painted it. by @pyhii

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8

2 months ago

I'm back taken in London, England by @pyhii

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a month ago

𝙂𝙧𝙤𝙬𝙞𝙣𝙜 𝙈𝙤𝙤𝙣
30 × 40 cm
Oil on wood panel
2026

By the time I got home, the rain had already stopped.
In the heavy dark, and the moon and stars had grown out of the earth. by @pyhii

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3 months ago

I’m pleased to share my work in Opacity: On Viscous Surfaces, presented in collaboration with @latitudegallery_newyork and L@antipode Project.

Tindra Eliason, Yufei Huang, Shihao Lin, Vinícius Lopes, Yihan Pan, and Chris Shubat, curated by Weifan Mo and Xumeng Zhang.

Regarder, c’est oublier les noms des choses que l’on voit.
(To look is to forget the names of the things one sees.)
— Paul Valéry, Degas Danse Dessin (1937)

Paul Valéry’s injunction serves as the point of departure, marking the threshold where the gaze is finally unburdened. There is a violence in naming—a swift, diagnostic strike that flattens the world into a series of transparent utilities, rendering the surface beneath our notice. We have been conditioned to read the world as if it were nothing more than glass, piercing through to a predetermined truth. Opacity is our manifesto against this clarity.

We embrace the act of seeing as forgetting. To see, truly, is to undergo an erasure: the shedding of the label, the syntax, and the name, until the object is stripped of its utility and returned to its primal, mute density.

The viscous is the medium of this un-naming. It acts as an interstitial depth—a sticky, tactile suspension between the eye and the object. Vision sheds its extractive habit, collapsing into an insidious, total submersion; the optical impulse is tethered to the terrain, dragged into a deepening friction where the surface dictates the rhythm of our own perception. It is a synesthetic weight: the way a shadow feels like oil, or a line gathers like a drop of heavy liquid, pulling the eye into the material’s own sluggish, internal time. Viscosity performs an unyielding geography of the immediate.
🩵 by @pyhii

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3 months ago

𝑜0 𝑂𝙤0 𝙊0 Oo.0 •

Oil on woodboard
60x30cm
2026
…
@pyhii by @pyhii

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a month ago