L GALLERY presents *Bonvoyage*, an international exchange exhibition organized with Lei Xiang Gallery, Taipei, featuring Sumisha from Japan, Fu Yu from China, and Huang Po-Hsun from Taiwan. As the first exchange project between the two galleries, the exhibition brings three distinct visual languages into a temporary point of encounter.

*Bon voyage* is a phrase spoken at the moment of departure. Here, however, departure is less about moving from one place to another than about what changes in transit. Images leave the contexts in which they were formed; memories are translated through different visual languages; familiar symbols begin to acquire meanings beyond their original place.

Sumisha’s wide-eyed figures occupy intimate yet unsettled environments, where looking becomes a quiet exchange between vulnerability and distance. Fu Yu turns marionette-like characters, childhood memories, and references to traditional puppet culture into scenes shaped by both control and the desire for autonomy. Huang Po-Hsun builds luminous, densely imagined landscapes in which swallows, fish, and other recurring motifs move between abundance and restriction, freedom and solitude.

The three practices do not converge into a single narrative. Instead, they meet through a shared instability: the individual is never entirely separate from the conditions surrounding them. A gaze is shaped by distance, a puppet by its strings, a moving body by the space that permits or limits its passage.

In this sense, *Bonvoyage* treats exchange itself as part of the work. Once displaced into another city and another context, an image does not arrive unchanged. It gathers new associations through the eyes that encounter it.

The exhibition begins at this point of movement—not with a fixed destination, but with three practices briefly crossing paths before continuing elsewhere.

—
Sumisha (Japan)
Sumisha paints figures distinguished by disproportionately large eyes, using the gaze as a space for emotions that resist direct language. Surrounded by soft yet vivid colors, her figures hover between intimacy and isolation, tenderness and anxiety. Their enlarged eyes operate less as a stylistic signature than as a point of contact between the figure and the viewer.

Fu Yu (China)
Drawing from childhood memory, fairy tales, and the puppet traditions of his native Shanxi, Fu Yu often depicts figures suspended by strings. These marionette-like bodies suggest the invisible structures—family, education, society—that shape individual lives. Beneath their playful appearance lies an unresolved tension between being directed and acting freely.

Huang Po-Hsun (Taiwan)
Huang Po-Hsun constructs vivid, densely layered worlds from memory and imagined landscapes. Recurring motifs such as swallows and fish suggest different conditions of movement, abundance, and restriction. Beneath the visual richness of his paintings, freedom remains provisional, accompanied by solitude and uncertainty.