Freya, this fascinating series travelled from TERRA in Burgundy to Apsara Project Space. What can the audience in London see here, and what holds the whole constellation together?

I really enjoy seeing my work interact with different atmospheres and spaces. Moving from Terra in Burgundy to Apsara in London has been fascinating — allowing a different kind of energetic connection to unfold and inviting the audience to step into it. The subtle yet dynamic shifts in feeling between these environments are especially interesting to me. I hope the audience in London will experience the works as deeply immersive, where tone, texture, and movement come together to create a sense of flowing energy. Each painting is connected to the others, forming a kind of constellation that explores relationships between humans, nature, and the wider world. Swirling marks, layered brushstrokes, and gentle shifts in tone invite viewers into a quiet, meditative experience, encouraging them to feel the rhythms and vibrations within the paintings.

What ties the series together is a shared focus on flow, energy, and connection. While each painting has its own presence and distinct energy field, together they form a network of visual and flowing relationships, reflecting a sense of continuity and interconnection. The series offers viewers a space to pause, reflect, and immerse themselves in the movement and energy that runs through the works.

You’ve lived between Beijing and London, and you often return to Devon’s countryside. We wonder how that mix of geographies ends up steering the affective temperature of your paintings?

Living between Beijing and London, and having the chance to engage with both the urban culture and the abundant natural environments in and around London, has shaped the emotional climate of my paintings in a very embodied way. The contrasting atmospheres of Beijing and London, along with my experiences in city streets, parks, and the surrounding countryside, create constantly shifting, organic conditions that influence how I experience and sense my surroundings. These experiences naturally and subtly feed into the mood of my work, helping me develop a more open and intuitive way of connecting with my environment.

City life heightens my awareness of speed, density, and intensity, while the natural landscape reconnects me to a slower rhythm and a more direct sense of natural forces. Moving between these environments shapes the emotional tone of my paintings. The works often carry both tension and release at the same time — dynamic, layered, energetic, infinite, and expansive, yet also meditative. The swirling marks and flowing structures reflect an open, embracing, interwoven, and organic sense of connection and coexistence with the environment, allowing me to feel my relationship with the spaces I inhabit. In this rich, intertwined space, I release my memories, stories, emotions, longings, and all the layers of my experience.

Your work is moving between Chinese philosophy and questions around climate and spirituality. How do you place your practice between these three threads?

My practice grows out of the ancient and deeply rooted wisdom of the culture I come from, and from an ongoing process of self-exploration. Concepts such as the Tao — understood as a cosmic force flowing through and binding all things — shape how I think about energy, balance and interconnectedness, both in life and in painting.

From this philosophical grounding, questions around climate emerge quite naturally. My work is rooted in a belief in the interconnection between humans and all other existence in the universe, alongside an ongoing reflection on the environmental and climatic challenges of our time. Through the continuous layering of paint and an inward expansion of space, I aim to evoke endlessly flowing energy fields that transcend time and space and open towards a sense of infinity. Within these fields, the enduring forces of nature and the cosmos permeate the surface, allowing moments where humans, nature and the universe move toward unity and a state of harmonious wholeness.

My practice is wholly grounded in spirituality. I understand it as a process of inward exploration and perception—of the self, of nature, and of existence itself—a journey toward one’s essential nature and the essence of nature itself. Through this spiritual dimension, I am able to interconnect with nature and the cosmos, perceiving a sense of oneness and interconnectivity. Using a meditative, bodily painting process, I tap ever deeper into my subconscious, connecting both to myself and to the cosmos. My painting emerges naturally from this journey, generating energy fields that invite contemplation and allow viewers to sense and engage with them, participating in the experience. In this way, I would say my practice sits at the intersection of philosophy, environmental consciousness, and spiritual experience.

Freya Fang Wang (b. Beijing) is a London-based artist. She holds an MA in Painting from the Royal College of Art, London (2023), and a BA in Mural Painting from the Central Academy of Fine Arts, Beijing (2010). Wang was a finalist for the Luxembourg Art Prize (2024), a runner-up in the STUDIO WEST NOW Introducing Open Call (2023), and was longlisted for the VAO Emerging Artist Prize (2023). She participated in the residency with the Good Eye Project in London (2024), and in A Brief History of Women in Art, an International Women’s Day event hosted by Pillsbury and Artfeed in London (2025). Her forthcoming projects include: Good Eye & Saatchi Gallery, London (2026); Night Cafe gallery, London (2026); Terra 2025, Apsara Studio, France (2025); The Roamer Project, La Colección Aldebarán, Spain (2025). Wang’s work is held in private and institutional collections in the UK, Europe and Asia. Her work has been featured in group exhibitions by galleries and curatorial projects including:  LBF Contemporary, London (2025) ; Thom Oosterhof Project, Taiwan(2025); Tiderip Gallery, London (2025);  STUDIO WEST, London (2024); Chilli Art Projects, London (2024); STUDIO WEST, London (2023); Silian Gallery, London (2023); The Crypt Gallery, London (2023); Mandy Zhang Art, London (2023); The Art Pavilion, London (2022) and Soho Revue, London (2022).