When we talk about the weather, we often unconsciously adopt an anthropocentric perspective. Too cold, too hot too humid, or too windy—the quality of the weather is often judged by how much inconvenience it causes to our lives.

The exhibition adopts a decentralized, post-anthropocentric perspective, attempting to explore and consider the deeper meaning of weather beyond its benefits and drawbacks to human comfort.

This exhibition questions environmental control, as Saki and Joni Brown explore the body's boundaries, weathered and exposed, revealing art's vitality beyond institutional protection. Works like Tabitha Weddell's unfired clay and Julian Tapales' CNC-incised forms evolve through interaction with rain, while Bill Wang Yi's industrial erosion and Jundan Chen's fragile metals engage London's dampness, showing matter as active participants. In a time of climate collapse, vulnerability, as seen in Seb Bradshaw, Minghao Wu, and Kaixiang Zhang's works, reflects resilience through openness and acceptance of uncertainty.

In Rikuto Jumijoto’s Whisper, sound is materialised through vocal-based works, taking cues from the environment's relationship with memory. Valentino Vannini takes a sculptural approach in Decoys #2, challenging the boundaries of the internal and external landscape of forms. In continuation of the synthetic material weathering in the exhibit, El Witt demonstrates industrial aesthetics, narrated with ideas of queer futurism and mythology built through the process of accumulating and reconstructing the tangible to the unknown.

We viewed uncertainty as a curatorial condition, allowing works to be altered, damaged, or even destroyed by environmental factors. When artists placed their works in an uncontrollable environment, when we relinquished control to an ecosystem beyond our predictions, the weather seemed to present us with a direct question: "Can you stand the rain?”