Suling Wang has exhibited internationally and her work is represented in important collections worldwide, but despite her growing international pro- le this will be the -rst time the ar tist has exhibited in Asia. For this exhibition, the artist has produced a new series of large scale paintings and smaller works on paper. In these works, origin, location and destination are considered in relation to the spatial and temporal qualities of an abstract landscape. Reds and magentas dominate the uid compositions in broad swathes of colour, which interweave and create pathways across a pale ground. The paintings are built up in layers over a long period of time with curvilinear forms being de-ned and or ganized on multiple planes. Appearing to unfurl, fracture and migrate across the surface, these allusive forms create a kind of contra/motion: a push and pull of the image, which relates to Daoist philosophy and to the folk inuences of the artist’s rural upbringing, Wang equates the dynamism of her work with the internal and external forces of change that began with the industrialization of her native landscape, and relates its abstract drama to broader themes of the contemporary global experience. As she writes, “If there is one central idea in all my paintings it is the idea of taking apart a personal world and reconstructing it piece by piece. It is the idea of a reality, which is continually in a state of ux or dissolution, fragmenting and then becoming whole, before falling apart again. I believe there has been an irrevocable change in our relationship to the world and this inheres in all forms of human expression.”