The Phoenix-like End of the Golden Garuda Painting

Hoho Kuo, a female artist, began her artistic education under the guidance of her father, artist Guo Yu, from an early age. She graduated from the Stage Design Department of the Central Academy of Drama and later from the Directing Department of the Beijing Film Academy. Her commercial film "Lively City" received the Golden Lion award at the China International Advertising Film Festival, while her paintings have earned recognition through prestigious selections including the John Moores Painting Prize (China). Active as both a painter and independent director, she currently lives and works in Shanghai. Hoho Kuo's artistic practice establishes a dialogue across time, connecting the spiritual essence of Eastern aesthetics with contemporary visual expression. Born into an artistic family in Anyang, one of China's Eight Ancient Capitals, she developed a profound connection with traditional culture through early training with her father. This foundation, combined with her formal education in stage design and film directing, forged a distinctive creative approach that integrates theatrical space, cinematic narrative, and painterly expression. In her painting practice, Hoho Kuo employs acrylics to develop a figurative yet expressive approach from a contemporary perspective. Her works are characterized by vigorous brushwork and emotional depth, reinterpreting Eastern cultural symbols within a global context while capturing the dynamic tension between fluidity and solidification. Her artistic significance emerges from the fusion of academic rigor with cross-disciplinary experimentation. As a creator bridging director and painter roles, Hoho Kuo's art follows dual trajectories: her filmic background contributes narrative strength and temporal orchestration, while painting provides a channel to engage directly with spiritual essence. This dual approach positions her among the few practitioners capable of mastering both symbolic representation and emotional flow, creating works that preserve cultural heritage while advancing a contemporary Eastern aesthetic. As Hoho Kuo states: "From Anyang, the cradle of Yin-Shang culture, to international contemporary art platforms, my practice remains rooted in Eastern philosophy while participating in global cultural dialogue." The year 2024 marks a significant transition as she recommitted to easel painting.