Across divergent practices, Ye Cheng, Ellen Weider, and Silvia Giordani each construct and deconstruct space as an unstable medium—mutable, psychological, and charged with poetic logic. Space is not a given field but a state of becoming: a terrain shaped by gesture, perception, and memory.

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Working between architectural suggestion and spectral abstraction, Ye Cheng builds layered environments that hover between solidity and dissolution. Her smoke-like gradients, interrupted by precise geometries, evoke partial ruins and unrealized blueprints—structures on the edge of appearance, trembling between presence and disappearance.

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Ellen Weider’s intimately scaled compositions distill rooms, thresholds, and pathways into symbolic diagrams where form and improvisation coexist. Through the tactile interplay of pigment and linen, she transforms architecture into language—then lets that language dissolve into rhythm and pause, each painting a fragment of a larger, unspoken syntax.

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Silvia Giordani’s terrains, lush and mineral, extend the language of landscape beyond the literal. Shimmering surfaces and organic forms merge planetary and cellular scales, suggesting ecosystems both ancient and speculative. Her works collapse the distance between body and environment, proposing landscape as a sensorial organism—alive, porous, and self-generating.

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Together, Cheng, Weider, and Giordani treat space not as container but as process: an accumulation of gesture, memory, and rupture. In their hands, space is mutable and relational—folding and unfolding between image, structure, and imagination, perpetually remade through the act of looking.

Ye Cheng, Happy Excursion no 2, 2024, Acrylic paint on synthetic silk, 48 x 60 in. (122 x 152 cm)