The “Terrain” solo exhibition by Ts.Solongo is on view at “A SPACE” Gallery until May 22. Her new exhibition is a meditation, a reconnection, and a reshaping of how we perceive the earth beneath us. With over 10 large-scale abstract paintings, the exhibition draws viewers into an aerial intimacy with the earth, reinterpreting landscapes through a lens that transcends physical distance and enters the realm of emotional geography.
Ts.Solongo approaches the canvas as one might approach the atmosphere with curiosity and reverence. Her works are layered compositions of shifting hues and formless contours, invoking terrain not as a cartographer might record it, but as it is “felt” Using a palette that evokes soil, stone, cloud, and light, she lets paint breathe like earth - dense, expansive and alive. Earth-tones dissolve into unexpected bursts of iridescent color, suggesting seasonal change, erosion, growth, or even unseen subterranean movement. The strokes are fluid but considered, bordering at times on impressionistic memory, yet never settling into definitive imagery.
What Ts.Solongo asks us to consider is not the topography of the earth, but it’s pulse. In her own words, the paintings reflect “the breath and movement hidden in the earth’s interior”. That interior is rendered visible here, not through geological diagrams or naturalist representation, but through abstraction that feels organic and inevitable. Her canvases hover between satellite view and dreamscape. From afar, they suggest continents or cosmic surfaces; up close, they are terrains of emotion - grief, awe, wonder, and stillness.
A central concept in the exhibition is the change in human perspective since we took to the skies. The artist challenges the viewer to abandon the habitual horizon-line gaze and adopt a view from above - one that humans only recently earned, yet one that dramatically reshaped our understanding of the planet. From this new angle, trees are not vertical spires but clusters of movement; rivers are not directional flows but ancient scars; the earth becomes a canvas, and the human trace - delicate, sometimes violent - is painted over its vast breathing body.
Her practice remains deeply grounded in both modernist abstraction and the impressionist pursuit of atmosphere and perception. However, she purposely avoids direct representation, inviting viewers to navigate the visual field without the crutches of imagery. Instead, she offers mood, motion, and memory. Each painting is an emotional space, unmapped, yet immediately familiar.
Importantly, the exhibition is not a passive observation of nature. It is a reflection on the relationship between humans and the earth, between observer and observed, between the seen and the felt. The paintings suggest that even as we physically step away from the soil from the farms, the forests, the fields, our interdependence with the land remains unbroken. The earth continues to beat, to breathe, to yield. We, in turn, continue to shape and scar, to draw and erase, to belong.
