The second part Chris Huen Sin-kan's Episode, The Path and The Fog, continues to explore the vagaries of human experience as filtered through the so-called ‘ordinary’ life of the artist. In these often small, precious, jewel-like works on paper, Huen beautifully displays the tremulous nature of experience, his brush weaving between pillars of memory and invention, being and becoming. The artist’s actors – his wife, two children and two dogs – increasingly become subsumed by the fluctuating stage that bubbles beneath them; their reality ebbing in and out of registration like the dreams we try to fix as we awaken. So it is that in this second body of work – smaller, gentler, perhaps even fragile – Kundera’s path and fog are less segregated and, instead, offer a synergy between agent and ground or abstraction and figuration. The past and the future; the known and the unknown; the positive and the negative no longer separate tributaries to choose but, instead, now an aqueous coalescence of mark, time and purpose that sees the one inexorably wedded to the other in humble orchestrations of paint that are as simple as they are symphonic.