Yuan Fang's recent landscape paintings are often considered as two parts of the artists, compactly and seamlessly connected to each other where an invisible bridge stands.

Serving as important imagery to Yuan Fang, bridges exist in almost all of the artist's memory of travelling home, in particular the Shenzhen Bay Bridge, crossing from mainland China to Hong Kong. Representing a deep and tactile experience, the bridge associates a journey, being on the road and in the process of arriving at the destination.

It is common to see a man sitting on the New York subway with his legs spread, easily occupying the public space of others. The room of the artist's body, which carries the bones of a skinny Asian woman like Yuan Fang's, is naturally reduced and compressed. Through the creation of large-scale works, Fang attempts to project and transfer her unfurled body movements onto great areas. Her paintings are vehicles for her will to occupy more physical space, a method of the artist’s own 'manspreading'.