Looking at Qiao Yuns work, theres a sense of the Zen meditation that surges through the ordinary; or like reading a haiku that inadvertently invokes the grief of lifes impermanence.
Surging 0802, 61cmX62cm, Paper ink, 2019
It has been a cliche to compare art with meditation, however, the rigor of linear development and the clarity of contextual relationship throughout her artworks manifest traces of contemplation and self-discipline. With the brush in hand, she has forgotten all the fears and doubts of life, seeking the truth with passion and perseverance. How can this not be described as a meditation?
Qiao Yuns early works bore a deep understanding of techniques. Those figurative paintings of flowers, elegant and delicate, were popular in the market. But she was never satisfied with these, she paid close attention to both Chinese and foreign avant-garde art trends, without prejudice, or being narcissistic. The broad vision and thinking allowed her to forgo the superficial and insisted on an unsophisticated individualism.
Surging 0601, 32cmX32cm, Paper ink, 2019
Thus the elegant and delicate became the repeated and clumsy strokes. The sparse, exquisite and bold composition became the dense, cold and tight. Artists are narcissistic and the perfection of technique often leads to the greatest narcissism, but it is, in fact, the greatest threat for artists. Qiao Yun can break away from the limitation of human nature which is a display of courage and also her unrestrained spirit. Only then can she establish a limited and ordered system from that infinite visual world of hers. Her persistence and determination really is an unstoppable force.
Pure at heart, clear in sight, this is a self-redemption and also a self-sublimation. She has cleansed all the notions and aesthetics of traditional painting away with her brush.
Qiao Yuns works are both abstract and detailed, unable to be categorized nor explained. Wittgenstein once said, "The work of art is the object seen sub specie aeternitatis." Qiao Yuns works seem to depict a lot of objects, details and similar yet different shapes, but in the end, you realize that nothing is drawn. This indescribable visual feeling is what we should take seriously. It is in this unspeakable state that she quietly shapes a landscape of painting, and the world she presents to us is a world beyond experience and independent existence, a world of ordinary and great loneliness.
Surging 0801, 32cmX36cm, Paper ink, 2019
The simple and dull appearance of Qiao Yuns work reflects her sensitivity and profoundness. She can perceive the transformation of the living environment and the change of time which ordinary people cannot experience. Therefore she is able to continuously provide new senses in her art, and seeking new modes of language as demanded by her freedom of heart. The need to follow ones subconscious and the unrestrained altitude for art creation is what every artist should achieve.
Art is interesting becomes of its ambiguity, indefinability, and variability. I like Qiao Yuns painting, and if there’s more expectation from me, I would wish that her paintings are less serious, less discreet, more ease and fun. That would perhaps be another level of her, or it could simply be my misjudgment.
Anyway, Qiao Yun will continue to follow the guidance of her heart.
陈雷Chen Lei 2019.9.28 北京Beijing
陈雷 |Chen Lei
In 1969, Born in Changsha, Hunan.
In 1990, he graduated from the Department of Fine Arts, Changsha University of Technology, Hunan Province. He has been devoting himself to the promotion and practice of Chinese modern art trend. He is the representative of Hunan New Image Art Movement in the late 1980s and early 1990s.
In 1992, "Guangzhou, China - First Art Biennale of the 1990s" won the Excellence Award.
In 1999, went to the United States to study and work for several years.
In 2007, they began to settle in Beijing.
His works are also recorded in the works of Complete Works of Modern Chinese Art - Sketch Volume, History of Contemporary Chinese Art 1990-1999 (Lu Pengs works), Oil Painting of Contemporary Chinese Art 1979-1999(compiled by Fan Dean), and History of Chinese Art in the 20th Century (Lu Pengs works).