《裊裊》是蘇笑柏在過去兩年持續創作的一系列新作品。中文的「裊」意指漂泊，反映了藝術家對於流離失所的深刻思考。蘇曾表示：「我沒有家鄉，但我已欣然接受。」，這句話強調了他如何面對內心的孤獨。他的個人經歷與繪畫的歷史交織在一起，既重視物質的表達，也關注非客觀的表現，卻不拘泥於特定的傳統或文化規範。
「裊」這個字，用蘇的意義來看，是一個擬聲詞，令人聯想到煙霧緩緩升騰、裊裊而起的景象。這一系列作品旨在捕捉一種縈繞心頭的聲音，延伸成憂鬱的迴響，彷彿那難以釋懷的情緒，帶著濃厚的朦朧感，飄忽而滲透，最終逐漸消散。此外，「裊裊」這個概念象徵著一代中國藝術家的思想獨立性與完整性，他們在戰後關於現代主義、極簡主義、抽象表現主義和非具象藝術的討論中，基本上被排除在主流敘事之外。
在2003年，蘇笑柏從德國回國，受到福建傳統民居屋頂瓦片的啟發，這種瓦片的形狀成為他作品中反覆出現的主題。創作一幅作品的過程極為勞動密集，個別藝術品始於由木材、塑膠和亞麻布製成的曲線型、精心構建的基礎結構。這種大漆是由松節油、達瑪樹脂、石粉、金屬粉和合成礦物顏料混合而成，經過乾燥後形成類似釉料的晶體表面。藝術家始終關注畫作的邊緣以及凹凸不平的表面如何影響我們對身體與空間的感知，無論是字面上還是隱喻上。乾燥階段中不可預測的相互作用，產生了多樣化的紋理，這激發了蘇笑柏持續的實驗精神。接受失敗與發現已經成為他成長過程中不可或缺的一部分。
顏色不僅是視覺元素，更是歷史與敘事的載體。蘇笑柏認為，顏色本身也是一種材質，卻帶有第二性的特質，並不斷探索新途徑，為他的單色作品注入微妙的意義。他尋找歷史悠久的顏料，如推羅紫，並賦予其隱藏的個人意義。他使用曬乾半年的大漆，並將顏料粉混合，然後用研磨機仔細研磨，直到達到所需的稠度。繪畫過程中，會使用多層透明漆，每層塗抹後需靜置幾天，畫布白天暴露在光線下，夜晚則置於黑暗中。隨後，這些作品會放在陰涼的房間中幾天，隨著時間的推移，發出明亮的光澤。蘇的作品不著重於描繪具象物體或人物，而是積極探索存在的概念。由於缺乏確定的秩序，畫作中剩餘的元素與本體相關，作品依其自身的秩序完成。蘇笑柏稱：「一切繪畫都是真實的，對自身的存在負責；我關心的是繪畫獨立於其自身存在的可能性。」
本次展覽分為兩個不同部分，旨在揭示蘇笑柏作品背後不斷變化的意義，並表達對藝術自由的渴望。第一部分通過不同的空間層次，借鑒蘇州中國古典園林的景觀設計，鼓勵觀者感知與藝術品的互動運動。前牆上懸掛著一塊小彩繪碎瓦《浮⽡–5》，象徵臨時住所；旁邊則是《浮茵–1》，暗示自然與成長。觀者隨後進入各個隔間，欣賞不同組別的灰色《浮沙》作品，尺寸逐漸增大，強調吸收、擴散和包容的視覺特質。一幅柔和的白色《浮⽚》與一幅紋理豐富的黑色《浮茵–3》並置，傳達出經歷歷史風化的痕跡。在第二部分，走廊引導觀者透視藝術品，展示一幅名為《浮湮》的大型藍色雙聯畫，另一幅綠色的《浮光》滴畫則位於盡頭牆面。《浮湮》抽象地表達了峽谷山脈雲霧遮蔽，藍色與白色的交互讓人聯想到雲、水和冰川的運動。對面牆上的作品更加繪畫化，意在超越對圖像的描繪。在半封閉的房間內，一幅具有獨特曲率的藍色大型作品《浮梁》展現了物理壓縮的效果，讓觀者近距離觀察畫面痕跡的微妙變化，彷彿時間在此刻靜止。
藝術門一直在促進東西方對話和跨文化交流方面走在前列。除了在香港展出蘇笑柏的作品外，畫廊還將在上海空間舉辦米高·科爾曼的展覽，展現其推廣創新藝術的堅定決心。

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