Often described as conceptual and abstract painters, the two artists each employ their own visual vocabulary to construct worlds that balance analysis and emotion, inviting viewers into a dialogue between the two.

Having lived and taught at leading institutions in China for years, Martin Wehmer has embraced the boundless possibilities of painting beyond his cultural root. Using a palette knife as his instrument of inquiry, he reconstructs subjects from his daily life in China with decisive “frozen strokes.” Each mark distills his emotions and perceptions into form, balancing clarity with openness. Wehmer’s canvases remain deliberately unresolved, leaving space for the viewer’s own associations to complete the work.

A similar equilibrium between structure and emotion emerges in Liang Manqi’s geometric compositions. Beneath the apparent order of her compositions lies a quiet introspection; her layered shapes unfold like reflections pieced together through time. In her latest series, Liang’s palette turns softer and more harmonious, presenting a sense of serenity that follows the reconciliation of inner emotions.