The Outsider takes its title from Albert Camus' seminal novel, a cornerstone of French literature that explores not only existential solitude but also a gaze positioned outside conventional orders and languages, where distance enables a unique form of vision.

Apolline Cordier observes Hong Kong from the stance of a watcher, capturing the city’s shifting rhythms while leaving meaning in suspension, untranslated and unfixed. Cang Yuan's Paris practice carries a parallel otherness, rejecting established visual grammars as body and emotion drift and deviate across the canvas. Ophelia Jacarini, traversing Paris and Hong Kong, works through passages of transformation; gestures fading into afterimages, time thickening into pauses, identity lingering at the threshold. Hong Zeiss’s painting practice blurs scale, distance, and materiality, allowing the image to remain in an indeterminate state between singularity and sequence, as well as between image and structure. Marc Tanguy offers a sensitive reconstruction of nature and the visible world, attuning us to landscape's tempo and mutations while maintaining a lucid distance from the scene.

主題「局外人」出自阿爾貝·加繆的同名小說。作為法國文學的重要文本，《局外人》揭示的不僅是存在的孤獨，更是一種觀看的位置——站在秩序與語言之外，因距離而得以凝視。

Apolline Cordier在香港保持著觀看者的距離，她捕捉城市的節奏，卻讓意義停留在尚未被翻譯的狀態；藏淵在巴黎的創作同樣帶有異質性，他拒絕服從既定語法，讓身體與情緒在畫布上持續偏移；Ophelia Jacarini長期穿行於巴黎與香港之間，她的創作關於轉換——動作成為殘影，時間化為停頓，身份停留在邊界之上；Hong Zeiss的繪畫實踐則透過模糊尺度、距離與物質感，使畫面在單一與序列、圖像與結構之間保持不確定狀態；Marc Tanguy的作品呈現出一種對自然與可見世界的敏感重構，他的作品讓觀者感受自然的節奏與變化，同時保持對場景的清醒距離。