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Shuling Guo’s solo exhibition Temple II opens Oct. 15 at Hollis Taggart Downtown in New York and runs through Dec. 5. The show pairs oil-and-colored-pencil paintings shaped by Guo’s memories of Guangdong’s spiritual and folk traditions with the artist’s first mural, designed to turn the gallery into a meditative space.
Shuling Guo’s solo exhibition Temple II is scheduled to open Oct. 15 at Hollis Taggart Downtown in New York, bringing together paintings shaped by the artist’s memories of ceremony and folk traditions in Guangdong, China, and her first mural. The show runs through Dec. 5 at the gallery’s 109 Norfolk Street location.
The paintings combine oil paint and colored pencil on linen over panel. They use symmetrical compositions and softened, glowing forms to explore memory, presence and loss, according to the exhibition information. Blossoms, small flames and ribbon-like tendrils recur as images associated with life’s beauty and fragility.
The work draws on Guo’s upbringing in Chaoshan, Guangdong Province, where Daoist and Buddhist traditions coexist with local folk customs. The gallery says Guo often visited her village temple as a child and that its wood carvings, murals and sculptures became part of her visual memory. The show’s paintings include works titled Purple Glow, Portrait VIII, Portrait IX, Portrait X and Tune Is in the Tree II, all dated 2026.
The exhibition also includes Guo’s first mural, which the gallery says will transform the space into an immersive, meditative environment. The supplied announcement does not provide the mural’s dimensions or describe its imagery in detail. Temple II is on view at Hollis Taggart Downtown, 109 Norfolk Street, New York, from Oct. 15 to Dec. 5.
A Gallery Show Extends Into the Room
The exhibition links Guo’s paintings to an in-person installation, giving visitors a chance to encounter the work not only as individual panels but as part of a gallery environment. The first mural marks a new format for the artist, while the show’s stated focus on ritual and meditation gives the installation a specific connection to the paintings’ themes.
For viewers, the work brings personal memory into conversation with religious and folk imagery. The gallery describes Guo’s compositions as drawing on more than one visual tradition, rather than treating sacred symbols as decoration alone. That framing helps explain why the show combines temple references, flowers and bodily imagery with a symmetrical, dreamlike approach.
The exhibition’s timing also overlaps, in the artist’s account as presented by the source, with major family events: the birth of her daughter and death of her grandmother. Those circumstances provide biographical context for the paintings’ attention to continuity, loss and the passing of life. They do not, by themselves, establish a single definitive meaning for each work.
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From Guangdong Temple Visits to Paint
Guo’s visual references begin with her early experiences in Chaoshan, Guangdong, a region where the source describes Daoist and Buddhist practice alongside local folk traditions. The gallery says childhood visits to a village temple exposed her to carved wood, painted murals and sculpture. These memories inform the exhibition, but the available account does not identify particular temples or specific rituals represented in individual paintings.
The source also points to Early Renaissance religious imagery as an influence on Guo’s compositions, especially their arch-like forms. It compares the paintings’ diffused quality with the spiritualist work of Agnes Pelton and notes that their flowers can suggest sensuality and anatomy in a way reminiscent of Georgia O’Keeffe. These are comparisons offered in the exhibition coverage, not claims that Guo’s paintings reproduce either artist’s style.
The exhibition’s title is shared with Guo’s poem Temple II, which begins, “I left my hometown / My hometown appears.” The poem connects the show’s interest in remembered place with its sacred imagery. The paintings were made during a period that included both a birth and a death in Guo’s family, according to the source report.
“I left my hometown / My hometown appears.”
— Shuling Guo, in her poem “Temple II”
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Installation Details Still to Come
The supplied announcement confirms the opening and closing dates, gallery address and presence of Guo’s first mural, but it does not state admission details, opening hours, public programs or whether visitors need reservations. It also gives no dimensions or full description of the mural, so its scale and specific imagery remain unclear.
The gallery’s interpretation and the source report provide context for Guo’s influences, but neither establishes that every painting carries one fixed meaning. The available material does not identify which works will be installed in the exhibition beyond the named examples, or say whether additional works will be announced.
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Temple II Opens October 15
Temple II opens Oct. 15, 2026, at Hollis Taggart Downtown, 109 Norfolk Street, New York, and is scheduled to remain on view through Dec. 5. The show’s opening will give visitors their first opportunity to see the paintings alongside Guo’s mural installation.
Further practical details, including gallery hours and any exhibition events, were not included in the supplied information. Readers should check the gallery’s current listing before planning a visit; the exhibition dates and installation details could be updated by the venue.
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Key Questions
When and where is Shuling Guo’s Temple II exhibition?
Temple II is scheduled for Oct. 15 to Dec. 5, 2026, at Hollis Taggart Downtown, 109 Norfolk Street, New York.
What will be on view?
The exhibition includes Guo’s oil-and-colored-pencil paintings on linen over panel, as well as her first mural. The gallery says the mural will make the space immersive and meditative.
What themes shape the paintings?
The work explores memory, presence, loss, devotion and ritual, drawing on Guo’s memories of growing up in Chaoshan, Guangdong, and its mix of religious and folk traditions.
What remains unknown about visiting the exhibition?
The supplied announcement does not include opening hours, admission information or public-program details. It also does not describe the mural’s dimensions or imagery in depth.
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