WHILE IN THE PARADISE (LOT 697) IS A TITLE OF GREAT HOPE, SONG'S WORKS IRONICALLY REFER TO A SAD CHAPTER IN HUMAN HISTORY: THE SLOW DECAY AND ULTIMATE LOSS OF NATURE. AS EARLY AS 2005, SONG HAS STARTED EXHIBITING HER WORKS OF URBAN LANDSCAPES IN CONNECTION WITH NATURE AND THE FORMER'S EFFECT ON THE LATTER. IN HER WORKS SHE COMMENTS ON PEOPLE'S INDIFFERENCE TOWARDS MOTHER NATURE AND DISPLAYS HER SENSITIVE AWARENESS OF THE EARTH'S SUFFERING AS A RESULT OF THAT.

IN THE PARADISE IS A PORTRAIT OF PLANTS GROWING IN THE EARTH OF DRIED RIVER BANKS. THE SEEMINGLY BANAL SUBJECT MATTER OF THIS WORK, CONVEYS AN UNDERLYING MESSAGE. WHILE HER LARGE SCALE CANVAS IS COVERED WITH A BEAUTIFUL RICH GREEN, THE PLANTS ARE NOT ROOTED DEEP IN THE EARTH AND ARE DESTINED TO BE PLOWED UP AT EVERY SEASONAL CHANGE. NATURE, IN SONG'S PAINTINGS, IS DEVOID OF DEPTH AND INHERENT OF QUALITIES LIKE ONE WOULD FIND IN COMMON SYNTHETIC LAWN GRASS. THE CERTAINTY OF UNAVOIDABLE DEATH CONTRASTS THE SEEMINGLY FLOURISHING ABUNDANCE OF THE FIELD AND THE GREEN-COLORED CARPET COVERING HER CANVAS, EXUDES QUEER YET IRRESISTIBLE BEAUTY IN SPITE OF THE ALLUSION TO DISPLEASURE AND SATIRE.
HER COLOR COMPOSITION EMPHASIZES HER MESSAGE OF THE LOSS OF NATURE. THE FRESH GREEN OF THE PLANTS IS CONTRASTED BY THE BROWNISH-RED COLOR OF THE GROUND. WHILE RED IS THE COMPLEMENTARY COLOR OF GREEN, THE BROWN WORKS TO FADE THE GREEN, THUS WEAKENING IT ALSO FROM A CHROMATIC POINT OF VIEW. WHITE IS USED AS A VOID OR AN EMPTY SPACE RATHER THAN A COLOR, SUGGESTING ANOTHER PLANE BY INTERACTING WITH THE NATURAL AND PSYCHOLOGICAL COLOR. JUGGLING WITH BOTH HOPE AND FEAR, SONG EXPRESSES HER PERSONAL CONCERNS WITH THE SUBJECT MATTER, WHILE DISPLAYING HER ARTISTIC QUALITIES.