For the 2017 series, Liang went for extreme reduction after doing a temporary adjustment of the work’s main color and its elegant appearance. By the end of 2017, the entire painting came to be ruled by the color black, and the artist sharpened her brushwork in this nontendentious layer of paint. Correspondingly, the logical and meticulous creative system that had always been led by concepts, and the visual relaxation that accompanies it, entered a more undefined and ambiguous state of emotional flow. At the same time, this brought sensitivity and changeability to the painting, a feeling of instability in a good way, and these brought more variables to the fixed interface of the pattern and the paradigm that the artist faced.

In these new works, the artist brushes base paint in a rather unhurried manner, and the curved lines of the brush are clearly visible - in her 2010 installation Picture of Early Spring, these curved lines were intentionally presented as natural traces of the painting action, adding color and texture variability to the monochromatic color field. After the canvas has dried, the artist applies another layer of black underpainting and depict the pattern while the black paint is wet. Between the grooves cut by the brush, the base color appears at times, holding steady against the flowing paint, creating an overlapping relationship that is both conflicting and intertwined. At the same time, the whole picture is pieced together using the very Liang Yuanwei style method of painting grid by grid, but without deliberately covering the joints. In her subsequent paintings, the red background color at the seams is exposed conspicuously, like the flesh of an animal split slightly open at the surface.