Endless Circulation
16 – 27 Jan 2027
The Dundas Street Gallery, Edinburgh
Opening Hours: 9 AM – 5 PM
Curatorial Narrative Text
We live inside circles without knowing it. The rim of a coffee cup, the turn of a roundabout, the loop of a commute, the repetition of a mother’s day. Circles are everywhere, quietly holding our lives together.
Endless Circulation gathers six artists who notice these shapes and rhythms. Their work spans video, photography, painting, installation, and sculpture, each offering a different way of looking at the loops we move through every day. The exhibition is structured as a circular route through the gallery, guiding visitors on a journey from the tangible to the abstract — from the physical loops of daily life to deeper, more conceptual forms of repetition.
In Circulations — Mapping the Circles of a Day (2022), the artist records every circle she encounters from morning to night — coins, clocks, drains, eyes — turning an ordinary day into something unexpectedly poetic. yushi.95’s urban photography captures circles found in city architecture and streetscapes, revealing a geometry that is always present but rarely seen. San Zhang’s painting The Dreameter (2025) takes the circular canvas itself as a starting point, layering oil and acrylic into a vivid, dream-like space where measurement and imagination merge. Thomai Pnevmonidou’s A Good Enough Mom & Part-Time Mothering (2025) looks at motherhood as a cycle — the same tasks, the same care, the same exhaustion, returning each day without end. Rong Bao’s Pink Roundabout (2024) brings a large-scale installation into the gallery, turning the familiar traffic structure into something strange and playful. Lizaveta Khikhlushka’s Circle Line (2026) reimagines London’s Circle Line as an actual circle, depicting a train and its passengers trapped in an endless loop.
Together, these works do not explain what a circle means. They simply ask us to pay attention — to the repetitions we live inside, the routines we take for granted, and the quiet beauty of going around again.
Artists/Participants
1. 枕上假假朋（Zhen Shang Jia Jia Peng）
枕上假假朋 is a Chinese video and media artist working under Waterrhino Studio (水犀工作室). Her practice uses the camera as a tool for quiet, personal observation, finding visual poetry in the textures of daily life. In Circulations — Mapping the Circles of a Day (2022), she documents every circular shape encountered throughout a single day, from cups and coins to wheels and drains. What begins as a simple exercise in noticing gradually reveals just how deeply the circle is embedded in our everyday surroundings, transforming the mundane into something unexpectedly poetic.
(Source: https://www.bilibili.com/video/BV1ca411X7hp/?spm_id_from=333.1387.homepage.video_card.click)
(枕上假假朋, Circulations — Mapping the Circles of a Day, 2022, video still)
2. Rong Bao
Rong Bao is a London-based artist working with inflatable structures, PVC, and everyday plastic objects to create playful, surreal, breathing sculptures. She studied Public Sculpture at the China Academy of Art, received her BFA from the School of the Art Institute of Chicago, and completed her MA in Sculpture at the Royal College of Art. Her solo exhibition Rong Bao is Me at Saatchi Gallery (2024) was the first by a female Chinese artist at the venue. Her work for Endless Circulation, Pink Roundabout (2024, PVC fabric, wire, mesh tube, toys, yoga ball, glass, rotate plate, W170×L170×H150cm), reimagines the everyday traffic roundabout as a vibrant, looping structure of endless motion. (Source: https://www.baorongstudio.com/general-5)
(Rong Bao, Pink Roundabout, 2024, installation, W170×L170×H150cm)
3. San Zhang
San Zhang is a Chinese multidisciplinary artist born in Spain and based in Scotland, working across painting, ceramics, textiles, and performance. Her practice draws on ancestral memory, speculative mythologies, and the subconscious dream realm, exploring cycles of consumption and regeneration. Her work for Endless Circulation, The Dreameter (2025), is an oil and acrylic painting on a 100×100cm canvas. The title merges “dream” and “diameter,” creating a space where measurement meets the unconscious — layered colour and intuitive mark-making loop back on themselves, mirroring the endless cycle of destruction and renewal at the heart of her practice. (Source: https://www.graduateshow.eca.ed.ac.uk/portfolio/san-zhang)
(San Zhang, The Dreameter, 2025, oil and acrylic on canvas, 100×100cm)
4. Thomai Pnevmonidou
Thomai Pnevmonidou is a Glasgow-based artist, researcher, and Programme Leader in MDes Interior Design at The Glasgow School of Art. Her research explores the interplay of identity, culture, and material expression, focusing on how objects and everyday practices shape our sense of self and belonging. Her work for Endless Circulation, A Good Enough Mom & Part-Time Mothering (2025), reflects on the cyclical nature of maternal labour — the repeating routines of feeding, cleaning, and caring that loop without pause, making visible the quiet rhythms of domestic life. (Source: https://radar.gsa.ac.uk/profile/793)
(Thomai Pnevmonidou, A Good Enough Mom & Part-Time Mothering, 2025, W15 x L6 x H27cm)
5. Lizaveta Khikhlushka
Lizaveta Khikhlushka is a London-based illustrator and graphic designer whose work spans fashion prints, packaging, editorial illustration, and visual storytelling. Her practice is characterised by vibrant colour and a playful, observational eye for everyday life. For Endless Circulation, she presents Circle Line (2026, mixed media on paper, 29.7×42.0cm), a work that poses a simple question: what if the Circle Line was actually a circle? The piece depicts a train travelling in a continuous loop, with pedestrians trapped within it, revealing the absurdity and poetry hidden in the transport systems we use without thinking.
(Source: https://www.behance.net/hihlushka)
(Lizaveta Khikhlushka, Circle Line, 2026, 29.7 × 42.0cm (A3))
6. yushi.95
yushi.95 is an Instagram-based photographer whose work explores urban landscapes through geometry, pattern and the unexpected beauty of built environments. Working primarily with city scenes, yushi.95 captures moments where architecture, infrastructure and everyday street details form visual rhythms, including circular shapes, repeated lines, reflections and spatial echoes. The three photographs selected for Endless Circulation draw attention to the circles and recurring forms embedded in the city around us, which we often pass without noticing. In the exhibition, these images connect the idea of circulation to everyday urban experience, inviting viewers to reconsider the city as a space shaped by repetition, movement and visual return. （source:https://www.instagram.com/yushi.95/)
(yushi.95, Untitled, 2025, digital photograph)
Space & Locaction
The Dundas Street Gallery, Edinburgh
The exhibition occupies Dundas Street Gallery for a two-week period, 15 January 2027 to 28 January 2027. Installation takes place on 15 January, with the exhibition open to the public from 16 to 27 January 2027. Deinstallation is scheduled for 28 January. The opening reception and public workshop Mapping My Circles will be held on 16 January.
The exhibition follows a three-part spatial narrative. Visitors move from works exploring physical circles and loops, through pieces addressing abstract and emotional cycles, to a workshop and archive space centred on the concept of eternal recurrence.
Public Programme
Opening Reception
6:00 PM, 16 January 2027
Join us for the opening of Endless Circulation on the evening of 16 January 2027 at Dundas Street Gallery, Edinburgh. Meet the curator and explore the exhibition for the first time, with drinks and conversation. The evening offers an opportunity to experience the circular route of the exhibition and engage with the works in an informal, social setting. Free and open to all. No booking required.
Workshop: Mapping My Circles
3:00 PM – 5:00 PM, 16 January 2027
Free, open to all
Led by curator Xiaobao Ye
This workshop Inspired by the video work Circulations — Mapping the Circles of a Day, participants are invited to document and map the circular patterns within their own daily routines through drawing, writing, and conversation. What circles do you move through each day? What loops do you return to without noticing? The workshop is open to all ages and backgrounds. No materials or experience needed.
Interactive Reflection Board
Located at the end of the exhibition route
The reflection board is an ongoing, open invitation for visitors throughout the duration of the exhibition (16–27 January 2027). After experiencing the journey from physical to abstract cycles, visitors are invited to pause and respond to a question inspired by Nietzsche’s idea of eternal recurrence: If you had to live this life, with all its repetitions, over and over again, would you embrace it? Leave a note, read others’ reflections, and carry the question with you.
Curatorial Rationale
Endless Circulation uses a thematic curatorial approach, centred on the circle as both a visual form and a conceptual starting point for exploring repetition, routine, and cyclical experience in everyday life. The project asks: how do circles, so easily overlooked in our daily surroundings, connect to broader patterns of labour, movement, and perception?
The six selected works include video, photography, painting, and installation, reflecting an interdisciplinary curatorial strategy that brings together artists working across different geographies, from China to Greece to the UK. This range is intentional: circularity is something everyone experiences, and the variety of mediums and cultural backgrounds invites audiences to find their own cycles within the exhibition. The pairing of Thomai Pnevmonidou’s work on a mother’s repeating daily life with 枕上假假朋’s lighthearted recording of circles in a single day creates a conversation between emotional depth and everyday playfulness.
The Dundas Street Gallery in Edinburgh was selected for its accessible, human scale and its position within a culturally active area, making it possible to reach both art audiences and the general public. The spatial design uses fabric curtain dividers arranged in a circular path, mirroring the exhibition’s theme and guiding visitors through a looping, non-linear route. This layout draws on site-responsive curatorial thinking, allowing the physical space to reinforce the conceptual framework of the project.
The public programme, including the participatory workshop Mapping My Circles and the Volunteer Reflection Board, extends the curatorial vision beyond passive viewing, encouraging audiences to reflect on their own patterns of circulation. These elements support accessibility and inclusion by welcoming participation regardless of prior art knowledge. The exhibition offers free entry, and all printed materials will be available in both English and Chinese, reflecting a commitment to cross-cultural communication and linguistic openness.
Budget
Poster Design
