The chair has long been the specific symbol of Mao Xuhui. However, this work draws away from the serious and heavy visual experience, which often appears in Mao’s other works. The picture presents a sly personal intimate space, trying to interpret the sustenance of the life situation through dreams. The garden here is neither an artistic expression of aesthetic poetry nor formalism or realism. Perhaps it is closer to Freud's statement “Dream reveals our deepest desire. Or we can say that the dream is not a desire, but a satisfaction of desires. Dramatic light spreads on the white and red chairs, surrounded by dreams that seem to never fade. The image begins to reveal a soft dialogue, both visible and invisible, presence and absence, a brilliant and pale memory in the gaze time. Finally the dream falls through the faint light beam in the sea of flowers.
