The representation of the self-body in Budi Kustarto’s work is about a never ending self-identification project. Budi Kustarto has started to do this tendency since 2003 when he who is formally well trained as a sculptor, cast his own body as a model for his self-representation sculptures. Budi Kustarto, then transfers his three dimensional self-representation works including its attached issues on the existence of body’s scale, space and dimension into a painting project.

Natee's sense of memory and the past led him to the mystification of western civilization in the Asian context: First, a sense of the past, and childhood, in his reference to antique prints and toys; secondly, myths in Thai culture; and finally, Western influence in Thai (and world) history.

The curators point out that the works in this exhibition do not emphasize too much on artistic symbols, and the artists' creation materials are mostly taken from daily life, expressing the artists' experience, perception and little wisdom on daily life.

Soka Art Beijing presents Gabriel Barredo’s solo exhibition: Visions. All the exhibited works are baroque-looking pieces which are made from everyday things – found objects, fiberglass, resin, old items given by friends – because under Barredo’s hands, all these objects have been transformed into something different altogether – something not of this world. Barredo was born in 1957 and currently works and lives in Manila. He is the prominent Philippine artist who represented the Philippines to participate Havana Biennale in 1985 and Sao Paolo Biennale in 1994. Barredo is well known for his sculpture and installation. Gabriel Barredo: VISIONS is the first solo exhibition to exhibit Barredo integrity collections in China. Soka Art Beijing would like to purpose the co-host project with the Philippine Embassy together to bring Gabriel Barredo to China art audiences during the Olympics.

Sentimental Value is the first exhibition of Philippine contemporary art that introduces to the Chinese public in China a latitude of expressions from one of the liveliest art worlds in Southeast Asia. In a season when power seems to tilt to Asia, the Philippines stakes a claim, not so much to exceed the frenzy of the current market as to insinuate that between scarcity and riches is a creative sphere of emancipation. We should eternally abide by it and never wish it away despite the myriad mediations of capital and the brazen abductions of art.