The title of Liang Yuanwei’sexhibition refers to the process of creating the works it presents; a suite of 16 paintings of various dimensions, each completed in the year prior to the exhibition. The paintings relate to each other in sequential form one to the next, such that from the first to the last, the artist’s concept comes full circle, having arrived at a new, elevated level of clarity.

We might also understand the reference to oval as a circular path through the exhibition; one that the artist has designed for us, for there is one specific route through the painting, which she asks us to follow. Thus, in pre-ordained fashion, visitors are instructed to move through the exhibition in accordance with the number sequence that is inscribed beneath each painting, one through sixteen. The goal here is to hand viewers the tools to accompany Liang Yuanwei on the journey she took to create the paintings, and to experience a similar process of discovery. This should include visitors becoming aware of the shifts and inflections of progress in the language at it evolved, and of the occasional awkward moment when the artist was wrong-footed, as texture, tonality and combinations of colour resulted in unanticipated effects. The full journey of this process is rounded out by the presence of three early works from 2005 and 2008, located in the small room at the end point of the exhibition. These are variously unfinished and illustrate how decisions were taken in the early stages of this approach.

梁远苇此次将展示16幅不同尺寸的绘画作品，而“椭圆”这一名称也意指艺术家创作的过程。 展览中，第一幅直至最后一幅作品均以序贯的形式展出且互相关联，艺术家的创作理念也在这 样的循环中得到了愈来愈明晰的诠释。

与此同时，“椭圆”也象征着建构于空间的环形路径，艺术家希望这样一条具体的线路可以引 导观众穿行于作品之间。在导向性如此明确的形式中观者将由附在作品下方的数字指引，依次 穿过1到16号绘画作品。这样的设定不仅使观众能够体验艺术家在创作时的探索，也可以领会 作品内部语言形式的转化过程，或是创作中体现于材料、色彩融合等方面偶发的不尽人意的效 果。展览最后部分所陈列的三件创作于2005至2008年间的作品就是对此的充分表达，在有限的展示空间中，它们从不同的角度为观众呈现了艺术家创作早期的理念形成过程。