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THEME: PINK

A toothy grin and great googly eyes. A child smiles at you, and the aviator's cap on her head is both absurd and whimsical, a joke the child knowingly shares with you the observer. Children are a frequent theme in Guo Jin's work, meditations upon pure joy and unadultered idealism. But against the context of modern China, the commentary takes on deeper, critical tones, asking if society's innocence has been lost or if naivety remains; if our worldview is youthful with its eyes full of opportunity, or blinded and obscurded by play-acting and make-believe.

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  • Portrait of a Child
  • Guo Jin (b. 1964) was born in Chengdu, in Sichuan Province, and attended the Sichuan Fine Arts Institute, graduating from the oil painting department in 1990. His paintings frequently take children as his subject matter in a juxtaposition of youth with China's own development, and idealism lost. After graduating in the early '90s, he showed modestly within China, significantly in Guangzhou Biennale's 1992 oil painting exhibition, in which many of his Sichuan peers also showed works. Since then, as art institutions and infrastructure have grown within China, he has participated in an increasing number of shows, often with his brother, the artist Guo Wei. His bold use of color and skill at creating silk-screen-like texture in oil have garnered him the attention of many gallerists and collectors. He lives and works in Chongqing and Beijing.

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    GUO Jin 郭晋
$35.00
Children are a frequent theme in Guo Jin's work, meditations upon pure joy and unadultered idealism. Sliding captures a group of three moving with grace and abandon down an unseen slide behind them. Their movement is innocent, capturing a moment of play, but when the children are considered as stand-ins for something greater, whether that be society or the state of a country, the painting takes on greater complexities: does the downward slide imply loss or danger, and if so, what is the childrens' agency? Did they initate this descent, or plunge into it unwittingly? Guo Jin's work gives itself to many different readings, but the painting's sense of momentum and unknown potential remains constant.

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  • Sliding No. 3
  • Guo Jin (b. 1964) was born in Chengdu, in Sichuan Province, and attended the Sichuan Fine Arts Institute, graduating from the oil painting department in 1990. His paintings frequently take children as his subject matter in a juxtaposition of youth with China's own development, and idealism lost. After graduating in the early '90s, he showed modestly within China, significantly in Guangzhou Biennale's 1992 oil painting exhibition, in which many of his Sichuan peers also showed works. Since then, as art institutions and infrastructure have grown within China, he has participated in an increasing number of shows, often with his brother, the artist Guo Wei. His bold use of color and skill at creating silk-screen-like texture in oil have garnered him the attention of many gallerists and collectors. He lives and works in Chongqing and Beijing.

    Click on the artist's name for more information
    GUO Jin 郭晋
$35.00
Yang Xun describes this portrait as “a peach blossom appearing from the dark like the scent of perfume left in the street; a visual sensation that reaches the viewer’s subconscious as a fragrance; a mood that gradually fills the air.” Yang’s Flower series was inspired by Song dynasty flower paintings on round fans. With brilliant light and soft shadow, he uses his subjects to portray multisensory memories of attraction, hope, pain, loneliness or despair.

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  • Fine Hints of Fragrance
  • Yang Xun (b. 1981), a native of Chongqing, attended the Sichuan Fine Arts Institute graduating from the oil painting department in 2005. Since his graduation, Yang Xun has taken part in numerous exhibitions in China and abroad, and has been recognized as one of the most original painters of his generation. Currently he lives and works in Beijing. Deeply affected by traditional Chinese culture and imagery, Yang Xun’s body of work often draws its inspiration from the world of Chinese gardens, Chinese opera as well as the iconographic patterns of moon-shaped flower paintings dating back to the Song Dynasty. Rays of light, another leitmotif of Yang’s oeuvre, shine from the heart of the compositions of the artist, unfolding in front of the viewer and blooming like fireworks imbued with a transient yet extraordinary beauty. In Yang’s paintings and most recent installations, light is used to search for memories and fix fragments of history in time; it acts as the eternal time machine, the mental link that the artist employs to create a link between the past and the present. Devoid of any human presence, Yang Xun's pieces are a reflection on the complex relationship between contemporary life and the traditional patterns that used to be at its core.

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    YANG Xun 杨勋
$35.00
Chills on a Rainy Night depicts a cluster of pink blossoms against a nighttime backdrop. While the sky appears cold and overcast, a warm and unnatural light emanates from the pistil of the upward facing flower. Yang Xun describes this work as “the melancholy sight of peach blossoms on a rainy night, when long-forgotten memories can trigger a longing for someone who has disappeared from one’s life.” Yang’s Flowers series was inspired by Song dynasty flower paintings on round fans. With brilliant light and soft shadow, he uses his subjects to portray multisensory memories of attraction, hope, longing or despair.

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  • Chills of a Rainy Night
  • Yang Xun (b. 1981), a native of Chongqing, attended the Sichuan Fine Arts Institute graduating from the oil painting department in 2005. Since his graduation, Yang Xun has taken part in numerous exhibitions in China and abroad, and has been recognized as one of the most original painters of his generation. Currently he lives and works in Beijing. Deeply affected by traditional Chinese culture and imagery, Yang Xun’s body of work often draws its inspiration from the world of Chinese gardens, Chinese opera as well as the iconographic patterns of moon-shaped flower paintings dating back to the Song Dynasty. Rays of light, another leitmotif of Yang’s oeuvre, shine from the heart of the compositions of the artist, unfolding in front of the viewer and blooming like fireworks imbued with a transient yet extraordinary beauty. In Yang’s paintings and most recent installations, light is used to search for memories and fix fragments of history in time; it acts as the eternal time machine, the mental link that the artist employs to create a link between the past and the present. Devoid of any human presence, Yang Xun's pieces are a reflection on the complex relationship between contemporary life and the traditional patterns that used to be at its core.

    Click on the artist's name for more information
    YANG Xun 杨勋
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Note: This artwork is not yet available for sale, but will be soon.

The Compendium of Materia Medica refers to a 16th-century compendium of medicinal herbs, compiled by Li Shizhen, a Ming Dynasty botanist and pharmacologist. According to the Yang Xun, "Peony was described in the Compendium of Materia Medica as an unambiguously beneficial herb. This medicinal aspect is overlooked because of its exquisite flower; but underneath the ostentatious petals is a staid and reliable character."

Yang’s Flowers series was inspired by Song dynasty flower paintings on round fans. With brilliant light and soft shadow, he uses his subjects to portray multisensory memories of attraction, hope, longing or despair.

Click on the artwork for more information
  • Compendium of Materia Medica • Peony
  • Yang Xun (b. 1981), a native of Chongqing, attended the Sichuan Fine Arts Institute graduating from the oil painting department in 2005. Since his graduation, Yang Xun has taken part in numerous exhibitions in China and abroad, and has been recognized as one of the most original painters of his generation. Currently he lives and works in Beijing. Deeply affected by traditional Chinese culture and imagery, Yang Xun’s body of work often draws its inspiration from the world of Chinese gardens, Chinese opera as well as the iconographic patterns of moon-shaped flower paintings dating back to the Song Dynasty. Rays of light, another leitmotif of Yang’s oeuvre, shine from the heart of the compositions of the artist, unfolding in front of the viewer and blooming like fireworks imbued with a transient yet extraordinary beauty. In Yang’s paintings and most recent installations, light is used to search for memories and fix fragments of history in time; it acts as the eternal time machine, the mental link that the artist employs to create a link between the past and the present. Devoid of any human presence, Yang Xun's pieces are a reflection on the complex relationship between contemporary life and the traditional patterns that used to be at its core.

    Click on the artist's name for more information
    YANG Xun 杨勋
$35.00

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