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埃里克·扎特奎斯特（Eric Zetterquist，1962- ）曾在日本艺术家杉本博司（Hiroshi Sugimoto，1948- ）麾下一边工作一边学习现代摄影与东方古典艺术近十载直至 1992 年。如今，他常驻纽约。"物体肖像（Object Portraits）”主要着眼于对古陶瓷的肖像描绘，并以一系列高度精致的抽象手法表现古陶瓷细节。扎特奎斯特将这一系列作品描述为 "中西合璧、新旧交汇 "的项目，其中涵盖了硬边绘画技术（Hard Edge）和高度概括后的宋瓷造型元素等灵感。倘若再进一步，其中还有宋代山水画的审美取向，而另一些作品则让人联想到亚历山大·考尔德（Alexander Calder，1898-1976 ）所代表的现代主义构成风格。

1992年他在纽约成立了“Zetterquist Galleries”，专⻔经营中国艺术品和陶瓷艺术品。扎特奎斯特的摄影作品曾在大阪市立东洋陶瓷美术馆、费城艺术博物馆（2014年）、曼谷东南亚陶瓷博物馆等地展出，他的专著《Object Portaits》由美国Nazraeli出版社于2018年出版。

Eric Zetterquist (1962- ) studied contemporary photographic expression and oriental antique art while working for Japanese modern artist Hiroshi Sugimoto (1948- ) for 10 years until 1992. Today he is based in New York. “Object Portraits”, mainly portraits of antique ceramics, is a series of highly sophisticated, abstract expressions of the details of antique ceramics. Zetterquist describes this series as an “East-Meets-West and Old-Meets-New” project, and mentions that he was inspired by hard-edge artworks and Song ceramics. In fact, some of his works suggest influence of Song landscape paintings while other works are reminiscent of modernist composition as exemplified in Alexander Calder (1898-1976) ’s works.

In 1992, he established Zetterquist Galleries in New York, specialising in Chinese art and ceramics. Zetterquist's photographs have been exhibited in The Museum of Oriental Ceramics, Osaka (2018), Southeast Asian Ceramics Museum in Bangkok (2016), Philadelphia Museum of Art (2014) and so on, and his book Object Portraits was published by Nazraeli Press in 2018.

科查·瑞斯特（Kotscha Reist）1963年出生于瑞士伯尔尼，现居伯尔尼并于图恩工作。科查的绘画持续地探索着两个题材：首先是他对摄影的学习，其次是他对绘画自我反思的讨论，这一讨论自20世纪80年代中期就开始在伯尔尼美术馆的环境中深入进行。科查的摄影素材来源广泛，他从广阔的宇宙中汲取灵感，并以此创作了树枝结构、窗户、童年照片等题材的绘画作品。他通常会放大和异化原作，让画中的图案像透过面纱一样显现出来，从而几乎使其消失，这种存在与不存在的辩证关系贯穿于他的作品始终。通过薄而多层次地涂抹颜料并保持对整体色彩明度的克制，科查的创作反映了存在与消失之间微妙的相互作用。

科查定期在瑞士和其他国家举办展览，其作品也被蓬皮杜艺术中心、诺曼底艺术基金会、瑞士联合银行伦敦分行、荷兰ABN AMRO银行、伯尔尼、图恩美术馆等重要机构收藏。

He regularly exhibits in Switzerland and abroad. His work is represented in international and Swiss collections (Centre Pompidou, Frac Normandie, UBS London, ABN AMRO in the Netherlands, Kunstmuseum Bern, Thun, etc.).

Zheng Yi has made works about boxes since 2010. These works concern on personal memory, collective memory. Influenced by Surrealism, Assemblism and Minimalism, He try to combine the spirit of substance with the experience of human life, which is the essential of “Zen” aestheics. He is now focusing on the public spaces of his works, and trying to build a bridge for conversation between “box” and viewers.