In her Sumeru series, Kang explores the relationship between color, shape, light, dimension and boundary through the form of the fold. Folds of draping fabric are a key artistic element in Gandharan Greco-Buddhist sculpture and form the basis for the brush-line mode of early Chinese figure painting that later becomes the sine qua non of East Asian brush painting. In Kang's treatment of the fabric folds she utilizes not line and outline but the color and shadow characteristic of South Asian, Central Asian and Hellenistic polychrome painting as the primary means of modeling form. The red and white that she uses are, in fact, compounded from minerals sourced from the same sites used by the Kizil Grotto artisans and it is through her fine control of the compounding and blending of mineral and organic cochineal pigments that Kang achieves the chromatic gradations she utilizes to model the forms of her folds. It is worth noting that Sumeru refers to the sacred five-peaked mountain of Hindu, Jain, and Buddhist cosmology. The fractal-like architectural structures of the Buddhist pagoda and temple complexes such as Angkor Wat (12th Century) and Borobudur (9th Century) are realizations of the unfolding metaphysical vision symbolized by Sumeru anticipating by a millennium Giles Deleuze's writings on the Fold in the metaphysics of Leibnitz and the Baroque.

在《须弥》系列中，康春慧通过"褶皱"这一基本形式，对颜色、形状、光线、尺寸以及界限等不同维度之间的关系进行探索与挖掘。衣物或布料的垂坠褶皱是犍陀罗希腊佛教雕塑中的一个关键艺术元素，也构成了早期中国人物画中勾线模式的基础，后来亦成为东亚水墨画的必备要素。康春慧对于褶皱的描绘并未使用传统的线描技法，而是通过颜色变化与明暗对比的手法进行呈现，饱满而立体，这种造型形式常见于南亚、中亚及希腊化时期的彩色绘画中。画中所用的红色和白色颜料（白色背景实为白色颜料绘制，并非留白）也取自克孜尔石窟附近的天然矿石，而康春慧对颜料制作和调配过程的精准把控也令画面所呈现的色彩变化更为细腻丰富。值得一提的是，"须弥"亦指须弥山，是印度教、耆那教和佛教宇宙观中的五峰圣山。许多佛塔和寺庙建筑群中的分形建筑结构，如柬埔寨的吴哥窟（12世纪）和印尼的婆罗浮屠（9世纪）等，都是须弥山所象征的逐层展开的超自然幻象的一种具体体现。这种结构可以说是法国后现代主义哲学家吉尔·德勒兹（Giles Deleuze）在其1988年著作《褶皱：莱布尼茨与巴洛克》中提出的"褶皱"理论的一种阐释，只是早于德乐兹近千年。