“Much of what has been noted of Tan’s practice stem from her training in both Chinese ink
and Western painting that has culminated into a recognisable aesthetic of abstract
landscape. In her work, Tan mostly paints with her canvases on the floor. As such, movement and momentum are pivotal moments in her painting, and where the duration of pauses between her wet and dry brushstrokes would play a determining factor in the form of her work. Tan describes how she maneuvers with the effects of paint like “taking one step forth and two backwards”, and vice versa. ”

“If returning traces from processes of painting can be described as reverberations, Wyn-Lyn
Tan’s series of sculptures bring attention to the notion of “echoes” of painting which she
transforms into tangible form. Tan’s paintings come from a continuous process of addition
and subtraction of paint, when she uses paper to absorb excess paint, or parts of her work
she would like to retain translucency. The absence of this material which may not be part of
the final painting remain a important part to the artist, and she preserves this presence in
series of paper and resin sculptures Traces, which are part of her paintings in the
exhibition.”