The truth may reside behind absurdity. Fantasy may come from reality. Surrealism is more real than realism. Jing Qin’s works do not come from her personal experience and surroundings alone but exist as a hybridization of Chinese scenarios and American daydreams.Though she is aware of being both the narrator and creator of her paintings, the narratives remain undefined. Instead, they are generated by the unconscious, then developed and formed by the experience of viewers. She sets the characters in a flatness that she calls a non-logical space. The ambiguity of their gender and skin tones make them abnormal, even uncanny. They seemingly engage in meaningless tasks while holding ordinary poses, blending the odd with the ordinary.This ambiguity comes from the supernatural being presented as the mundane, and vice versa. Jing Qin is interested in prompting viewers to call into question the limits of narration, making psychological realism and surreal flights of fancy indistinguishable.