The City Tales series stems from Gan Chin Lee's conviction that inner-city "anxiety, restlessness and hardship" are best captured through heightened perspective and saturated colour. In IV, that unease materialises as architectural fragments that both guide and obstruct, suggesting the psychic partitions of contemporary urbanism. Here Gan borrows the flattened perspective of Japanese ukiyo-e and the bold outlines of Chinese New Year woodcuts "to reflect the deformity of public social issues with a dash of humour."  Lemon-yellow partitions slice the scene into a maze with portals, while cartoon shoe-prints hover above each doorway. Trained at Beijing's Central Academy of Fine Arts, Gan is known for staging multicultural crowds in shared yet disconnected spaces. Here he takes a bend towards surrealism, focusing on this touristic wanderer who has both hands eagerly clutching a phone, navigating structures that both guide and imprison.