Faye Wei Wei conceives of the painting process as an intimate choreography between actual and pictorial space. She is concerned with making as a means to hold the ineffable bound to the painting object—utilising imagined worlds through compositional disharmony, painterly gestures and colours that vibrate and jostle. She has a deep desire to conjure a transference of feeling. The horses, moons, birds, and flowers exist within her paintings as couplets, as lovers, containing each other in some kind of unthought known — Christopher Bollas’ conception of the stifled, unthinkable trauma (though in the same way preverbal) —then are often present in Faye’s work as its opposite: her work strives to portray a love that knows no possibility of ending, of a state of being other than what is, and un-self conscious. Her works address the themes of love ritual, poetry, theatre, mythic and self mythologising narratives. Moments in her paintings depart into a more ambiguous, interior space of incongruity.