Yang Shuang qing’s recent works further investigate the approaches and modes ofobservation he’s adopted for his practice. He has transitioned from translatingthe visual experiences of his everyday life to integrating that grammar ofeveryday lingo into his compositions, whose practice outpours an appealingwarmth, like the undercurrent of a hot spring.

Similar to the characteristic of a “hot spring”, thatkind of oppressive and laidback contradiction have been fully revealed by theartist, while conveying variant notions of time and space from his previousworks: the entangled images and the collage of found images began to blendtogether; his structural transformation allowed for dual gaze at the status andoutcome of the textures of composition. As our vision lands on the canvas, whatthe artist calls a product of "gesture" quickly took over theexisting image, and reopens memories that have been sealed, and transcendsreality. The formerly repetitive path of practice, for instance, the fountainin the park, the game of hoops, the pile of coal at the alley's entrance, andthe bathhouse in the inner city and etc., began to extend, distort and clashwith time, like the sector of a pendulum leaving us between choice andabandonment, tangled in this area with indecisions, between the context of thismoment and the contact with illusion, and subsequently highlights the essentialmood and intent between the painting and the people who experience it. Hence,Yang Shuangqing’s “Hot Spring” adopts an imaginary context to revisit memories,although the hot spring underground may bear great energy, it could only bereleased slowly, and outpours at the exit of the hot spring avenue.