ShangHai, Qingpuqu, China
About Guokaijun Guokaijun
2011 "Spring Art Exhibition" Capital International Airport Lang ham Hotel (Beijing) 2010 "Rely on Nothing" Modern Art Gallery (Taiwan) 2010 "Pop Art Songzhuang - Exhibition of Beijing Artist Village" National Agr (Beijing) 2010 "Rely on Nothing" Casting Art Museum (Beijing) 2010 " Color "¢ Image "- Contemporary Art Exhibition" Yang Art Center (Beijing) (Singapore) 2009 "Exhibition of Songzhuang artists group," Pine Valley Art Museum (Beijing) 2008 "Precipitation" Play "¢ Art Space (Beijing) From the cover of the interest to the shape of demons -- Guo Kaijun painting artistic interpretation The complexity of the contemporary art provides artists with endless ideas and performance, but it also hints at some kind of danger: art as if place oneself in the thorns and the land, the circuit forested wilderness, any kind of careless artists are likely to lead to misguided and hardship. However, from the Angle of art criticism, a successful artist choice and gene mutation of experience but its so the key to success, it is of the artistic form and meaning by his choice of risks to be able to see out. Guo Kaijun oil painting is the carrier of choice and mutation. As an outsider artist, technology and procedure, expression and unity is the premise of inherent in their artistic creation and burden. Yet in a contemporary artist's identity into spirit and form of double adventure, the painter had to disassemble and painful choice painting motif, and on the premise of keep the artistic soul consistency in implementation of image gathering, refactoring, and in disguised forms, significant deepening and rebirth for painting. Since about 2010 years or so, guo image began to appear a kind of blue, white, red and white tarpaulin. This is a strong, incongruous visual stimulus elements, in a series of realistic images of frequent news footage. Artists, however, seems to be the cover of tarpaulins and describe some crack in the lyrical imagery: city neon, the branches of the night, day by day of gorse, childhood fantasy. This aesthetic sentiment and fragmented, tarpaulins formed a kind of very strong today, harsh color and warmth to the viewers to realize the double ChaoSha image contrast. There is no doubt that it is the society of human nature and human in the process of urbanization is a ruthless killing of naked. From a tragic emotion, consciousness to the tarpaulin, can be said to be the artist decided to take risks in the field of contemporary art in the first step. First choice of tarpaulins, according to my personal speculation, out of an intuition or coincidence, it is a modern civilian common image edge of the city walk, tarpaulins is chosen and their survival experience is a kind of medium and symbols. The theme, is to be in a society and the edge of the city people's point of view into the city, peep city people's life, even "peep peep" itself. However, as the symbol and peep, peep link between appear constantly, the artist seems to feel this connection itself has the connotation. This contact no? When a commonplace things together like the attached in our life, this kind of thing is worthy of our reflection thing in the world? Obviously, to analysis the sensitivity of the artist, and on the use of continuous uninterrupted, not only play the role of symbols, but with instrumental function. Transformation into the every kind of way of tarpaulins, suggests that some kind of meaning expression change. This change is thought; Not language and logical thinking, but by the image meaning of intuition. This intuition produced in awareness of life, observation of the society. Tent is a kind of shelter. Life is a kind of shelter. Heidegger had warned us, man's survival was covered in modern society, get the truth, and the pursuit of freedom, is to remove cover, seek clear boundary. However, tarpaulins as covered how can know? The biggest problem is that the as a sanctuary exists in modern Chinese society. Tent can reflect contemporary Chinese way of life: most certainly, it is shelter is the social marginal group, was cut off by the edge of society and the mainstream society, however, think of the whole society's way of life might it not. The cover of the Chinese people in modern society is a modern cheap asylum. It lost any symbolic and aesthetic, cultural meaning, immutability; Its characteristic is pointless, humble and temporary. We have all the way from our home to professional, from material to spiritual survival. In modern Chinese that is based on, this depends on is empty. The survival of modern Chinese face the danger of negative, meaning nothing. We ignore the life state is because is obscured, but remove cover is covered. Guo Kaijun early tent is a kind of shelter or diaphragm. Or is it half bright and half dark, acne, incomplete or is broken, torn open. It is this kind of fuzziness, we were able to spy on city buildings, men and women play the warmth of the nest, the joy of the holiday. Tarpaul
Guo Kaijun, born in 1963, graduated from Painting Department of the Xi'an Academy of Fine Arts in 1986.