Unlike other painters who came into vogue in the ’80s. Scottish-Chinese artist Euan Heng made works that, even then, were neither wild nor spectral. For a start, they were self-consciously Mediterranean, in the tradition of Matisse and Léger—but gray. His bewildered but purposeful gentle giants and world-weary office workers, depicted through a synthesis of Christian and Classical heroic models. seemed half-human, half-animal. Though he was loosely associated with the dramatic but now docked expressionist efflorescence in Scottish painting, Heng had been resident in Australia since 1977. Here,