Lingering Haze by Ye Cheng, Xiangjie Rebecca Wu and Lingrou Xie
March 1 - 30, 2025
Installation Views
Works
Mar. 1 - Mar. 30, 2025
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.
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