UP Gallery is pleased to present the group exhibition What Remains of Home, bringing together works by Sara de Brito Faustino, Yu-Ting Tsai, and Arthur Ou. The exhibition centres on the artists’ practices, which re-examine notions of family, lineage, and home through processes of documentation and reconstruction. Rooted in personal histories, the exhibition considers how familial memory is not merely preserved, but continuously reinterpreted—shaped by distance, loss, mediation, and the desire to reclaim agency over the past. Spanning photography, video, and digitally constructed imagery, the artists’ approach lineage as an unstable inheritance rather than a fixed narrative.

In this exhibition, Arthur Ou presents his series To Preserve, To Elevate, To Cancel in its first complete presentation within the gallery space. The series received strong critical and audience response when shown at Paris Photo last November, generating considerable anticipation for its formal debut at UP Gallery. The title derives from the German word Aufheben, which carries three interrelated meanings: to preserve, to elevate, and to cancel. Ou adopts this semantic framework to reflect on the twenty years following his family’s immigration to the United States in 1985. The impulse to preserve—whether by holding onto objects that define personal identity or by photographing an experience or memory—is inherently an act of value judgment. When a particular object or moment is selected, observed, and recorded, its status is elevated, while its original equivalence among all other things is simultaneously annulled. Here, photography functions not only as a tool for preservation but as an intervention into reality, revealing how personal history is continually repositioned through acts of choice and omission.

If Ou’s work understands “home” as a historical site continually redefined through selection, preservation, and value judgment, Sara de Brito Faustino’s A Home With No Roof turns inward, confronting the psychological architecture of the childhood home. Through carefully staged photographs and miniature models, Faustino revisits a space once intimate yet marked by pain and imbalance. In processes of deconstruction and reconstruction—where objects become bodies and bodies become objects—the artist reclaims control over memory and the self. The tension between her refined compositional aesthetics and unsettling details reflects an ongoing negotiation between vulnerability and autonomy, between inhabiting the past and breaking free from it.

Yu-Ting Tsai’s Mother and Daughter extends the exhibition’s inquiry into lineage by examining maternal identity across generations. Framed from the perspective of the grandmother, the work reflects on how memory blurs the boundaries between mother, daughter, and child. Archival photographs are reinterpreted through 3D modelling and digital reconstruction, producing images that do not belong to a singular moment in time. Here, inheritance unfolds through imitation and internalisation, as the child becomes both witness and participant in the transmission of family history. Technology serves as a visualising tool, revealing how identity is shaped not only by bloodline but also by historical context, misrecognition, and repetition.

Together, the works of Faustino, Tsai, and Ou propose an understanding of family not as a stable origin, but as a site of continuous negotiation. Through different material strategies—documentary intervention, staged reconstruction, and digital simulation—the exhibition reflects on how home is remembered, imagined, and rebuilt in the aftermath of loss, transformation, and generational shift. This exhibition marks the debut of Sara de Brito Faustino and Yu-Ting Tsai at UP Gallery, and unfolds in dialogue with Arthur Ou’s widely anticipated series, forming a shared reflection on memory, inheritance, and reconstruction.