This exhibition series comprises three solo exhibitions: Shen Qibin’s Backyard Garden hosted by the British academic consultant David Elliott; Jin Feng’s The Door anchored by the Chinese academic consultant Du Xiyun and Guan Ce’s The Tao of Bird presented by the American academic consultant Gary Xu. The three solo exhibitions will be presented at the Gallery simultaneously from 5-9 November, 2015.
Shen Qibin’s Backyard Garden creates a narration of the mixed distance, in order of “Gold, Wood, Water, Fire and Earth”, between history and reality, classic and frame, self and the world, reality and imagination. His approach is based on the traditional Chinese philosophy and culture. He uses the overprint of two classical elements – Shakespeare’s classic and the Chinese model books for painting. It expounds the thinking of Chinese and Western history and humanity.
Jing Feng’s Door takes reference from historical narration. In 1793, George III king of England took advantage of the Chinese Emperor Qianlong’s birthday, sending British Lord George Macartney to lead a huge mission to China. William Alexander (1767- 1816), Macartney's accompanying artist, painted a batch of watercolor paintings along the way, which were related to the political, economic and local customs and practices. Jing Feng, in this exhibition, recreates the historical visual materials. The narration of the English company reappears on the large-scale Chinese old door sheet. The “door” opens and closes as a switching point of history and the present. The triple relationship of “crumple”, “restart” and “writing” serves as a reminder of the paradox foundation of historical writing.
Guan Ce’s The Tao of Bird presents the artist’s obsession with materials and intertwined results from it. Ce has persisted in uninterrupted reading and thinking for decades. He keeps a distance perception for Chinese traditional artistic conception and poetic expression. In his work, the sense of rational “control” is infused through sensitive expression in art. The work colourably but accurately embodies the conflictive process of traditional culture and contemporary expression. The phenomenon covers the overall portrayal of current Chinese culture and philosophy. Guan Ce’s work appears insipid, while communicating deep meanings which cannot be restated.