Su Meng-Hung takes famous Chinese paintings as templates, fusing abstract expressionism with automatism manifested in splashed ink landscape. In crafting the sensory and material character of his lacqueresque work, Su develops an ambiguous visual style, often eluding the true implications of his referents — as seen in the still life paintings, flower and bird paintings, and the erotic paintings referenced by him — by detaching and fragmenting them. In re-contextualizing these symbols, he dissociates them from their original historical significance. Amid the myriad Eastern decorative patterns, the reading of abstract painting is instilled with literati charm that beckons the viewer to revel in the fabric of aesthetics.