On being introduced to the painting techniques which played a key role in getting Wong Shue's work published during the 1980s, the artist's gouaches commanded the attention of numerous art collectors in different countries. Since then, although the choice of media for his work has broadened considerably over the past 25 years, the artist occasionally revisits the former use of gouache and natsume paper for some of his paintings. The River Maid series done between 2003 and 2006 are prime examples.

When the artist told his print-making teacher that he wanted to have his own etching press, Master Printer Tony Zepeda (who had produced prints for such great names in contemporary fine art as Motherwell, Dibenkorn, Hockney, and others) replied, “That’s dangerous!” The teacher’s response alluded to the addictive nature of the printmaking process. Indeed, most of the great artists of the 21st Century had at some point in their career developed some degree of obsession over printmaking.

In 1998, Wong Shue installed an etching press in his Los Angeles studio and has continued to periodically produce limited edition drypoint prints.

For a period of almost seven years during the 1970s, Wong Shue focused his attention primarily on drawing. In the ensuing decades, right up to the present, the artist has consistently explored a vast range of subject matter with the use of pencil, charcoal, ink, and pastel. For the first time, Nosnevets Productions is offering a selection of drawings from different periods of the artist's work which have never before been exhibited.