Starting from traditional oriental paintings such as those
celebratory Chinese court ladies and Japanese art prints, those typical of the so-called ukiyo-e
genre, passing through literature, cinema and music, up to real life, SunJing often reconstructs
everything in her mind - but only after having reinvented all those scenes that particularly affect
her, presenting it concretely but not realistically. In this way, the time and space of the images
are fictitious and instill subtle emotions that are destined to endure. Aware of the fact that there
is still much to explore, she does not limit herself to traditional paradigms, thus trying to
safeguard a style linked to the question of personal balance, often sabotaged by human
contradictions. Ultimately, her work, aiming to represent the ego of a person wandering in the
tension of nothingness and the uncertainty of existence, captures all those scenes in which
emotions are hidden and fleeting, in a creative process which equally corresponds to the throb of transitory life. After all, as the Greek poet Konstantinos Kavafis states in his 'Notes on Poetics and Morals': 'solitary men see things that we do not see.
Solitary men see things that we do not see: they have visions of the supernatural world. They
refine the soul through isolation, thought and continence. We make it dull it with contacts, lack of reflection, pleasures. That is why they see what we cannot see. Anyone who is alone in a quiet room clearly hears the ticking of the clock. However, if others enter and begin movement and conversation, they cease to hear it. But the beating does not cease to be accessible to the ear.