Installation Views
Works
Mar. 1 - Mar. 30, 2025
  • Lingrou Xie, At this Moment, 2025
    Lingrou Xie
    At this Moment, 2025
    Oil on canvas
    27 1/2 x 23 5/8 in
    70 x 60 cm
    Courtesy of Latitude Gallery New York
  • Xiangjie Rebecca Wu, Doors, 2024
    Xiangjie Rebecca Wu
    Doors, 2024
    Oil on Canvas
    60 x 48 in
    152.4 x 121.9 cm
    Courtesy of Latitude Gallery New York
  • Xiangjie Rebecca Wu, Joker and The Queen II, 2023
    Xiangjie Rebecca Wu
    Joker and The Queen II, 2023
    Oil on canvas
    48 x 36 in
    121.9 x 91.4 cm
    Courtesy of Latitude Gallery New York
  • Lingrou Xie, Float, 2025
    Lingrou Xie
    Float, 2025
    Oil on canvas
    28 3/8 x 21 1/4 in
    72 x 54 cm
    Courtesy of Latitude Gallery New York
  • Lingrou Xie, Above the layers, 2025
    Lingrou Xie
    Above the layers, 2025
    Oil on canvas
    27 1/2 x 23 5/8 in
    70 x 60 cm
    Courtesy of Latitude Gallery New York
  • Ye Cheng, Happy Excursion No.7, 2025
    Ye Cheng
    Happy Excursion No.7, 2025
    Acrylic on synthetic silk
    44 x 36 in
    111.8 x 91.4 cm
    Courtesy of Latitude Gallery New York
  • Xiangjie Rebecca Wu, 礼物 Gift, 2024
    Xiangjie Rebecca Wu
    礼物 Gift, 2024
    木板油画
    12 x 9 in
    30.5 x 22.9 cm
    Courtesy of Latitude Gallery New York
  • Lingrou Xie, Lost , 2024
    Lingrou Xie
    Lost , 2024
    Oil on canvas
    51 1/8 x 35 3/8 in
    130 x 90 cm
    Courtesy of Latitude Gallery New York
  • Xiangjie Rebecca Wu, Xi, 2024
    Xiangjie Rebecca Wu
    Xi, 2024
    Oil on Wood Panel
    36 x 30 in
    91.4 x 76.2 cm
    Courtesy of Latitude Gallery New York
  • Xiangjie Rebecca Wu, Plate II, 2024
    Xiangjie Rebecca Wu
    Plate II, 2024
    Oil on wood panel
    6 x 12 in
    15.2 x 30.5 cm
    Courtesy of Latitude Gallery New York
  • Xiangjie Rebecca Wu, Towel, 2024
    Xiangjie Rebecca Wu
    Towel, 2024
    Oil on Wood Panel,
    24 x 18 in
    61 x 45.7 cm
    Courtesy of Latitude Gallery New York
  • Lingrou Xie, Getting Closer, 2023
    Lingrou Xie
    Getting Closer, 2023
    Oil on canvas
    35 3/8 x 23 5/8 in
    90 x 60 cm
    Courtesy of Latitude Gallery New York
  • Ye Cheng, Happy Excursion No.8, 2025
    Ye Cheng
    Happy Excursion No.8, 2025
    Acrylic on synthetic silk
    46 x 36 in
    116.8 x 91.4 cm
    Courtesy of Latitude Gallery New York
  • Xiangjie Rebecca Wu, 剪刀 Scissor, 2024
    Xiangjie Rebecca Wu
    剪刀 Scissor, 2024
    木板油画
    10 x 8 in
    25.4 x 20.3 cm
    Courtesy of Latitude Gallery New York
Press Release
LATITUDE Gallery New York is pleased to announce Lingering Haze, a group exhibition featuring works by Xiangjie Rebecca Wu, Lingrou Xie, and Ye Cheng. Opening on March 1, 2025, and running through March 30, 2025, the exhibition explores the fluidity of memory, the ephemeral nature of dreams, and the poetic tension between presence and absence. Featuring 12 works on view, Lingering Haze invites viewers into a suspended world, a fragmented dreamscape suffused with nostalgia—at once warm and melancholic.

Dreams emerge and dissolve in the liminal space between memory and reality, the space becomes a vessel for emotions. This exhibition invites viewers into a world that feels both intimate and distant, familiar yet elusive. Here, time does not follow a linear path, and space remains fluid, shifting and folding in on itself. Reality is reassembled in fragments, forming a dreamlike landscape infused with nostalgia—at once warm and melancholic. Artists Rebecca Wu, Lingrou Xie, and Ye Cheng each construct a visual world suspended between reality and dreams, past and the present. Their works, steeped in personal memory, extend beyond the self, transforming symbolic objects, light, and space into conduits for collective recollection. They guide viewers into a surreal "dream-core" experience, evoking a sense of déjà vu. Doors, windows, mirrors, scissors, and forgotten objects—commonplace in daily life—become portals to memories, leading to a past that remains just out of reach.

Lingrou Xie’s works evoke the sensation of a double exposure in parallel timelines, where flowing images fracture and disrupt the coherence of memory. Her blurred backgrounds flicker like fleeting glimpses, as if film negatives are racing past, leaving ghostly afterimages. She layers low-saturation hues—vintage ochre, deep blues, and purples—to create an atmosphere of stillness and nostalgia. In Float, a dark green base tinged with yellow resembles the aged patina of an old photograph, its color diffusing organically across the canvas. Black flowers bloom within this depth, while scattered specks of light shimmer above, like remnants of distant warmth. The rectangular frame in her composition acts as a “painting within a painting,” a window into fragmented recollections. Figures appear as collaged remnants, suspended in silence, their presence both real and unreal. While her work echoes Surrealism’s exploration of the subconscious, her distinct visual language reinterprets the interplay of time, memory, and identity.

Rebecca Wu's paintings craft a serene yet restrained emotional landscape, where ordinary objects are infused with symbolic weight. Her still lifes transcend mere representations, serving instead as vessels of emotion that capture the passage of time and the traces of human presence. Her compositions evoke a "suspension of time," as if everything is suspended within a lingering dream. Space feels simultaneously empty and charged; half-open doors, scattered playing cards, and fragmented reflections in mirrors do not explicitly narrate a story but invite the viewer to step into the scene and experience the unspoken tensions of the everyday. Her palette remains subdued and controlled, with light pooling along door cracks, mirror edges, or the contours of objects, rendering the space unstable, caught in a delicate state of transition.

Ye Cheng constructs labyrinthine landscapes where mountains and geometric forms intersect, shaping spaces that feel both fractured and fluid. The mountain is more than a landscape—it symbolizes retreat, contemplation, and the meditative stillness of traditional Chinese painting. The mirror, in contrast, disrupts this stillness, introducing Western perspective and rationality. Cheng's palette is soft and muted, recalling Chinese landscape scrolls, yet the absence of a defined light source leaves her spaces remain suspended in an undefined state. Her compositions are punctuated by stark black voids—sharp, geometric intrusions that disrupt the natural order of the scene. These dark forms function as portals that neither fully open nor closed, drawing the viewer toward the unknown. Her landscape is fragmented and folded onto itself, its reflections creating distortions that blur the line between interior and exterior, between reality and the imagined.

In Lingering Haze, memory is not static; it shifts, dissolves, and reconstitutes itself through light, shadow, and the weight of the familiar. The works in this exhibition weave together past and present, evoking a warmth that feels deeply personal yet undeniably distant. At the core of it all is a sense of absence—of something just beyond reach, something that once was but can never fully be reclaimed. These paintings exist in that delicate in-between, inviting the viewer to linger in the spaces they create, to follow the echoes of the past as they flicker, dim, and fade into the haze.