At a moment in history where most human interactions are carefully prescribed, Dong’s works remind us of how organic processes evolve unconstrained, slowly, over time. One large multi-panel work is displayed along the gallery wall, while four Green Cube paintings are presented suspended on each side of a free-standing cube-shaped wooden structure.

Chinese ink painting forms a foundational manner of thinking around which Dong constructs his images. Though traditional cunfa (texturing brushstrokes) continue to influence how he creates figures and forms, he is primarily interested in how these traditional techniques can be transposed into contemporary painting. Cunfa, for Dong, operates as a way of organising time: brushstrokes accumulate throughout the process, adding layers that gradually allow an image to emerge. Every brushstroke carries intention, contributes to the image-making process, and documents the passing of time.

Systems of cultivating and displaying nature do not simply comprise the subject matter of Dong’s paintings but allow him to explore ideas pertaining to the natural world. Through painting, Dong considers numerous ways in which humans experience nature. Domestic terrariums, botanical gardens, museum collections, and greenhouse architectures are some examples of interactions that underpin his work. Rather than depicting scenes drawn from these specific examples, Dong explores how natural environments and the interactions of living organisms within these ecosystems can inform his painterly process. Each formal display of the natural world offers a unique example of how organisms interact and contribute to a larger whole. These examples provide principles that are subsequently applied to his paintings, allowing Dong to explore how brushstrokes, traditional and contemporary materials, and numerous panels might interact to create a single work.