Blue is the dominant hue of East London.

It lingers in the dampness between paving stones at dawn, flickers on the glass of rented flats, and casts its cold light across computer screens. Within this “Blue Membrane”, three Chinese-born female artists of the same generation, currently based in London, unfold a perceptual ritual shaped by body, memory, material and space. For China’s Gen Z, blue does not merely represent the sky but speaks of nostalgia without a past, the mute stillness that follows emotional overload, and a quiet, suspended melancholia shaped by digital solitude.

Blue Membrane is both a woven tapestry of female artistic practice and a mode of existence grown within the frequency of blue. The artists bring their finely tuned sensibilities of body, identity, and the natural world into Hackney, a space shaped by overlapping time and cultural memory.

This convergence is not the result of identity-based grouping, but a shared response to a wider contemporary condition: how do we locate ourselves in unstable, constantly shifting urban life? As a Gen Z female artist, they live and work in a rhythm of drift and reassembly.Their languages of embodiment, emotion, materiality, and spatial experience compose a post-belonging mode of perception: rooted in the emotional reserves of Chinese culture, yet re-formed by London’s weather, pace, and structural mood. It is this in-between frequency that has become their most stable axis.

Yvette Yang’s works in glass and aluminium print explore the fragility of time, memory, and disappearance. Through delicate tension between order and entropy, her practice echoes the exhibition’s reflection on impermanence and shifting perception. Shenlu Liu’s textile-based sculptures evoke speculative lifeforms and energetic anatomies, where delicacy and structure converge within crystalline membranes. Her works reflect the exhibition’s exploration of blue as a fluid, nonhuman presence grounded in tactile perception.Victoria Yuan’s translucent sculptural forms conjure amniotic seas and protective inner landscapes, embodying the “blue” as both womb and ocean, a quiet frequency of regeneration and suspended emotionality.

Here, the “Membrane” is both metaphor and medium: a membrane that separates and protects, yet allows information, energy, and history to seep through.The exhibition emphasises the non-linearity of female experience, not only in looping time or multi-point space but also in the unstable, unresolved nature of perception itself. Their works intersect, reverberate, wander, forming an open-ended perceptual field in flux.

Hackney, a collision point of ethnicities and cultures, becomes a co‑conspirator in perception, a porous urban membrane. Moist air seeps into fabric and skin; grey light refracts through windows; converted factories retain their concrete scars. Rented kitchens, multilingual graffiti, street rhythms all become the city’s sensory residue.For the artists, the city is a vessel for emotional and spatial transformation, shaping how they move and create. The audience, too, enters this porous membrane where light, discomfort, and distant sound form a shared sensory map.

Within this blue membrane, art is no longer a metaphor for femininity or the body. It becomes a membrane that breathes with the viewer, damp and fragile, yet resonant with persistence. It extends a quiet but unwavering invitation.