The unknown or uncharted area that Lu Song depicts in his painting entitled Encircled (2016) could be regarded as the remnant or vestige of something already vanished. The “closure” led by the expansive “nature” suggests a tight space and a potential subject. The luxuriant foliage requires an aggressive attitude though, but still resembles the real nature that has not been cultivated, which represents a genuine physical sensation that overwhelms the subject. Escaping the decadence and corruption of the “desert” in the city, the artist attempts to make up a place to release all his negative emotions including anxiety, exhaustion, and alienation. The ambiguous palette that emerges in the dream charms away the real troubles. By the pursuit and appropriation of the “rural land”, which is unreachable, various uncertainties and senses of disillusionment born out of modernity are ready to receive healing. Dandy, who comes from the sea and ventures his way back, has described an external world as being strange and defamiliarised. The peripheral vision assumed in Encircled demonstrates that Shanghai must be rewritten constantly so as to be understood.