The exhibition brings together a selection of Nisky’s most recent practice based on this concept. Each piece reflects the artist's unique approach to multicultural integration and painting style adaptation. For instance, the “Surfer Rococo” series embraces the idea of cultural fusion under the retro tone. “Surfer” represents Nisky's fascination with popular culture in the 1950s and 1960s, while “Rococo”— aside from the misunderstandings and prejudices caused by its grandiose and extravagant visual presentation — is considered, by Nisky, a critical source of the beauty of fusion, especially the “chinoiserie” that flourished in the European court at that time. To Nisky, though the “chinoiserie” under the Western perspective carries all kinds of “misreading”, they are full of creativity, and they can be regarded as a new perspective when appreciating the beauty of Chinese culture.
In terms of the use of painting styles, taking “Our Ancestors: Landscape Ensemble I” as an example, the work is guided by black-figure, red-figure, and white figure techniques — painting techniques that evolved during the three periods of the ancient Greek bottle painting. The specific characters are further depicted by inspirations from the Han Dynasty portrait stones, Peking opera masks, and African woodcarvings. At the same time, the narrative of the picture is established with the help of mountain shapes in landscape paintings. The artist opts for materials that are rich in contradictions and struggles, thus revisiting traditions while moving forward.