In this curation, the works are considered as measurements—an instrument that registers the time between appearance and recognition. Each surface functions as an instrument with different units. Brushstroke, drying time, the physical thickness of pigments, density of marks, and more orchestrated a concise recording, acting as units of measurement—marks that store gestures with a timestamp, a delay, a thought, a dream, an alternative, and more. The painting surface, usually read as completion, is instead treated as a cross-section of ongoing processes.
In Cheng’s landscapes, translucent synthetic silk allows color to drift through layers like light through air. Scenery becomes a record of movement—boulders, rivers, and clouds rendered as thresholds and pathways. The compositions symbolize experiences of moving through, rather than arrival. As a result, each dimension and site created in the paintings extends visions forward, marking a continuation of her ongoing exploration of travel as perception.
