If you don't understand art, you can understand the outside of the image
Wang Qibiao, No. 03198
Wood panel, 1220×2440mm×2, 2019, partial work
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Chinese calligraphy pays attention to brushwork and ink color, and this concept is transferred to Wang Qibiao's art, which is the knife method and ink color - this Cantonese who was born in 1974 and started to learn architecture and turned to "art", day after day, get up early, first pour a large cup of coffee, followed by a sufficient breakfast, and then pick up the knife, stereotype, ink.
In his studio in Shuipo Village, Beijing, there is a skylight in a corner, and the light shifts with the shadow, obliquely sweeping through the dozens of wooden planks he stacked together—that is, the standard industrial panels, 1.22 meters wide, 2.44 meters high, about half a centimeter thick, they come from different trees, originally waste, wood flowers, or recycled things, after being pressed by the industrial assembly line by anon workers, becoming the most ordinary boards.
And Wang Qibiao cut them with a sharp knife tip, scraped them with a blade, and made them break, revealing the repressed Lizi for a long time, just like "knowledge archaeology", making the invisible visible, exposing the pad at the bottom, so that the layers finally sang harmony with each other and became songs.
Number 03198, 2440×1220mm×3, 2019
The ink commonly used in printmaking is then covered with black, so that the flat surface that has not been damaged by the knife marks turns into black - that is the territory of the mysterious ruler, Chinese painting says "counting white when black", Wang Qibiao is black and white, and the brightness in the black reflects the natural texture of the wood, and the knife marks together constitute a figurative or abstract shape - therefore, like calligraphy, in addition to the knife method and ink color, the knots, chapters, and words begin to appear in the works, of course, in Wang Qibiao's works, the words need to be imagined by the viewer.
Figurative, abstract, are representations. It depends on the distance between the creator and the viewer and the work: taking a step back, those shapes (whether it is a line, a circle, a group of Buddha statues) may be telling a story in the abstract, but when you get closer, what you see is nothing more than ink, wood, and the details hidden in the wood, which are concrete and subtle figurative, the most simple and authentic "substances".
Number 03199, 2440×1220mm×3, 2019
Yuan Museum, actual exhibition effect
I have known Wang Qibiao for six or seven years, and he is sincere, thoughtful, and righteous, but I remember more than once he said to me: "Oh, I made 333 planks at that time, and I have exhausted all possibilities!" "I thought to myself: Young people are still too arrogant. He said this sentence very rarely afterwards, and presumably he himself realized that the "possibility" could not be exhausted, whether it was about a board, a knife mark, or a touch of ink.
Qiu Zhenzhong argues in his book Seven Problems of Calligraphy that calligraphy can be seen as an image system parallel to the language system, which "brilliantly satisfies the characteristics of Chinese thinking that are not completely abstract, saying that they are not abstract, no, they are above everything and dominate the universe; it is not correct to say that they are abstract, they are some figures that require people to use their senses to force their eyes, rather than to use intelligence to recognize."
The truth that the entry and exit of figuration and abstraction are easy to navigate, and the viewer is to be faced with the senses rather than the intellect, and this truth may also be applicable to commenting on Wang Qibiao's works.
It's like sticking to the white
Yuan Museum
When: April 16 - May 30, 2022
Venue: No. 104 Caochangdi Art Village, Beijing
Ps
Affected by the epidemic, please understand the corresponding epidemic prevention requirements before visiting the exhibition
In addition, this exhibition will be extended to close on May 30
If you're in Beijing, check out his group exhibition with artist Hu Haoyu at the Yuan Museum in Caochangchang Art Village to see how they are "as white as ink".
Since I have written two or three times before, this time I chose to do a small Q&A with Wang Qibiao so that readers and friends can understand his ideas more directly; as for more "stories", you may wish to refer to the following old text:
The above is my side note of Wang Qibiao's works and exhibitions.
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More works
Number 03263, 1200x300mm, 2020
Please watch horizontally
Number 03270, 2440×1220mm×2, 2020
Number 03208, 610×610mm, 2019
Number 03211, 610×610mm, 2019
Number 03212, 610×610mm, 2019
Number 03213, 610×610mm, 2019
Number 03214, 610×610mm, 2019
Number 03215, 610×610mm, 2019
Number 03217, 610×610mm, 2019
Number 03219, 1220×1220mm, 2019
Number 03281, 600×600mm, 2022
Number 03280, 2400×1200mm×6, 2021
Please watch horizontally
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Elephant outside x Wang Qibiao
〇: What kind of person do you feel like?
W: I feel like I'm an idealistic person. As an artist, many things in life are not necessarily satisfactory, but when you watch your works grow step by step, you will still feel relieved.
〇: What is your study experience like? Because what likes to draw?
W: I studied architectural design as an undergraduate, for the simple reason that my parents were in the industry. And being an engineer or contractor foreman looks like you're earning a good buck. My second sister obtained a doctorate in law abroad and later became a lawyer who fought international lawsuits. Her "success" stimulated me a lot. I remember the second sister came back from abroad for the first time and brought a globe and told me that the world is really big and must not "lie flat".
I was fascinated by painting, first of all, I was influenced by my junior high school friends, who aspired to become a painter in a professional painting academy since he was a child (he later got his wish), and after I went to college, I studied under his enlightenment teacher. The selection of national exhibitions again and again has given me great confidence in my ability to paint.
I studied English for two years at a foreigner's house in college, and my speaking skills were relatively good, so when the Guangzhou Museum of Art (Guangzhou Art Museum) needed a translator, I was lucky enough to be recruited. Being nurtured in a place with such a rich collection of objects, my pure artistic path can really begin.
〇: You have been working at the Guangzhou Museum of Art for six years, so let's talk about your feelings and experiences of looking at paintings.
W : There are more than 40,000 calligraphy and paintings in the museum, and when I was working in the calligraphy and painting collection department, I got started with more than 10,000 paintings and calligraphy, which was very helpful for me to understand the mainstream Chinese art since the Song Dynasty.
Looking at the painting up close, I call it "super intensive reading of images", you can feel the material sense of calligraphy and painting, especially silk, and you can feel that the artists at that time painted very slowly. Our museum has a Song Dynasty Wentong's "Ink Bamboo Diagram" and the Yuan Dynasty Li Yan's "Bamboo Diagram", both of which are colored on silk. I remember that every year around November, the warehouse had to be "painted", the warehouse was very large, and there was a special exhibition hall for professionals to see paintings, and we had to open some old paintings and hang them in the exhibition hall. At this time, the sunlight from the large window of the warehouse sprinkled in the hall, and there was no sound in all directions, and I was alone with the painting, silently communicating.
Wen Tong "Ink Bamboo Map" is very large, open it, you need to first open the cloth cover of the special brocade, wear gloves to take out the painting axis, because it is very heavy, so it requires two people to cooperate, slowly open at the booth, bamboo will enter your vision step by step. However, unlike most people's habits of seeing paintings, I will "excerpt" what I see according to my needs. In the Yuan Dynasty, Li Yan's "Bamboo Diagram" gave me a deeper feeling, that is, the bamboo painted was "eaten" by the material of silk, which had an impact on my later preference for "digging" things - except for the black of the ink, I basically did not use color, and the different levels of color of the wooden board were the things inside the wooden board, and the inside was so that people could not see the fire.
Looking at the original works of ancient calligraphy and painting in large quantities, coupled with the imitation of the calligraphy "Ode to the Stone Gate" and the paintings of the Bada and Wu Changshuo, I know that it seems impossible to try to reach a new historical "height" in creation in this way.
〇: Later, when you went to graduate school at CENTRAL America, did you choose the printmaking department by accident or because you were interested in printmaking?
W : After I resigned from the Guangzhou Art Museum, I stopped thinking of returning to work in the system and came to Beijing for three years. Surviving "naked" in the wild does allow oneself to see the once "heavy flesh.". Although there is no chance, fear is always accompanied, but it is impossible to retreat, and you can only face it bravely.
In fact, it was not my intention to take the printmaking department, and I first wanted to apply for the oil painting department - in addition to working in the art museum in Guangzhou, I was painting oil painting. However, I resigned from my job to come to Beijing to meet the tutor I was going to take the exam at the time, and he said that he was not recruiting students because he was about to transfer out of the Academy of Fine Arts. Fortunately, I studied in the painting class run by Wang Huaxiang, a teacher in the Printmaking Department of the Academy of Fine Arts, and I remember talking about my coming to Beijing with trepidation, and plucking up enough courage to ask Teacher Wang: Can I apply for your graduate school? He said "no problem", just like that, I applied for Teacher Wang's woodcut language research direction, and I took the exam for three years as I wished. I never had a woodcut knife before, and that's how I started my woodcut.
〇: As a Cantonese with three major ethnic cultural backgrounds of Chaoshan, Hakka and Guangfu, do you feel that your artistic concepts are subtly influenced by the local cultural traditions of Guangdong?
W : Compared with the whole country, especially for us post-70s, Guangdong represents wealth and openness. I was born in Guangzhou, my parents came to Guangzhou from Chaoshan to study a generation, I can naturally speak some Chaoshan dialect, I can feel that they attach great importance to sacrifices and clans, so since I was a child, I often prostrated on my own shrine and went to a nearby monastery to prostrate for peace.
I know Hakka because of my classmates, many people have Hakka parents, they and Chaoshan people have a characteristic, very diligent and hardworking. Cantonese people have a characteristic, that is, they do not have much interest in politics, do not know much about northern culture, and making money and eating and drinking are their main topics.
The three major cultural ethnic groups in Guangdong are diverse, flexible and integrated, but if I am influenced by the local cultural traditions of Guangdong, I only realized after coming to Beijing to compare, that is, the pragmatism of Guangdong people.
After coming to Beijing, I was obsessed with the pre-training of plaster casts. Although it is of great help to my future thinking, it is not very useful for the practical use of the graduate school. In the first year, I signed up, but I didn't go to the exam; the next year I adjusted it, and all the exercises were carried out in the content of the examination, especially for the problem that I was not fast enough to draw, I asked others, how can I draw fast? A student at CAFA High School told me that it was best to draw sketches, and without saying a word, I ran to the Beijing railway station and sketched in the hall all night. After nearly a hundred nights of practice, I painted not only a large number of stranded passengers at the train station, but also many homeless people. I still vividly remember the train station in winter, the smell of noodles, disinfectant water and people who have not bathed for a long time. My later classmates were curious, I didn't seem to have much sleep, in fact, I was sketching all night at the train station.
〇: You said that your mentality was more "fierce" when you were in graduate school, why? Do you feel like you want to be a big artist, or is it your goal to pursue the ultimate perfection of your work?
W: It took me three years to get a ticket to the Academy of Fine Arts, so I said to myself: This is the last time I have concentrated on studying. Except for the three months I went to Dunhuang, I was basically in the woodcut studio, if I didn't lock the door of the studio one day, or if I wasn't the first to open the door, I would be a little uncomfortable.
I wanted to be a big artist, so from the very beginning, I went to the Academy of Fine Arts according to my own vision.
The first lesson of the school year was the language of Western printmaking, which was mainly a two-week reproduction of Dürer's woodcuts, but I spent thirteen months reproducing five of Dürer's works. At that time, the students wondered, why was there such a charm on the reproduction of this matter? At that time, I thought that what I lacked was technology, and then I thought that it was actually a science and engineering student's thinking mode at work, that is, emphasizing "quantification", which can calculate your workload, and it is also a good trial and error method.
Dürer Language Studies-1, woodcut, 25x17cm, 2009
I also drew several small sketches the size of my palm, one of which took seventeen mornings; if I wanted to make sculpture, I ran to take the basic class of clay sculpture with the second year of the sculpture department, and when I saw that the sculpture students were going to Dunhuang to go to the countryside, I made a report to apply for inter-department application to go together. Everything comes according to the most difficult requirements, everything is for the work, and never spares physical strength, money and time on oneself. So, naturally, pursuing the ultimate perfection of my work is my goal.
At that time, people called me "crazy", which was actually a bit pejorative, because it did not conform to the tone of art, such as lightness. Years later, when the classmates gathered, everyone said that I understood it very well in three years of graduate school, but it was also difficult for me to evaluate what the crazy work was for, whether it really achieved a qualitative change, and now I even doubted that this "labor model" way of working, it may have an element of performance.
In any case, some people judged that my enthusiasm for work would not last for three months, but after graduating three years later, I am still the same today - the only exception was when I printed a print near graduation, and my thumb was accidentally crushed by the printing machine, and I rested for more than half a year. After the accident, within two weeks I went to the United States, my sudden "disappearance", everyone naturally had many associations, many people think that my hands have been wasted, but one student later explained to these students: "Even if there is no hand, he can use his feet to stereotype!" ”
〇: Later, you went to Dunhuang for a while, from what angles did you understand and absorb Dunhuang art?
W : Dunhuang is an indissoluble relationship for me. During college, I studied English in an American family for two years, and one day, the American friend said to me: His father in his seventies will not Chinese, need a escort to travel in China for two weeks, all the itineraries have been arranged, all my expenses are paid by his father, asked me if I want to go? Of course I couldn't ask for it.
His father was a trustee of Harvard University, and the old man was a medical student, and in addition to going to the Longmen Grottoes in Beijing, Hangzhou and Henan, that trip was to the Bingling Temple in Yongjing County, Gansu Province, known as "Little Dunhuang". We set off from Lanzhou and took a boat on a lake to reach the temple that the Western Jin Dynasty began to build, and later climbed up the 169 caves, which are more than fifty meters high, and I was thrilled to see the earliest clay statue of Buddha in China.
I began to create dunhuang-related works because I went to the countryside to study. In the first year of graduate school, in addition to studying the language of Dürer's printmaking, my woodcut creation also went to the basic clay sculpture class of the second year of the sculpture department and did clay sculpture for half a year. The latter's training made me understand that from a three-dimensional way to see the shape, all objects have six faces, you can choose to enter the angle of the depiction according to your needs, and any angle can be flattened.
The transition from three-dimensional to flat is reflected in my prints, which is to shift cave sculpture to flat woodcut transformation, rather than reproducing flat murals on woodcuts. This involves the shadows generated by objects under the light source, so my early woodcuts tended to use lines to form the picture, slowly increasing the shaping of space, and then later based on the understanding of Buddha statue culture and folklore, I moved more boldly in creation.
No. 108, 60×45cm, 2011
Number 333, 60x45cm, 2014
In 2015, I attended the 60-year archaeological achievements meeting of the Italian archaeological team in peshawar, Pakistan, hosted by the Dunhuang Research Institute, and saw a Buddha statue that was probably in the first century AD, holding a small sheep's head, and I suddenly realized that the sheep on the Buddha statue were actually poured into the hope of the donor, and they regarded the Buddha as an adult. By understanding the styles of Buddha statues from different periods and regions, you won't be fooled by a particular Statue of Buddha you see in front of you.
Many people with aesthetic training are reluctant to visit contemporary monasteries, because most of these monasteries are filled with collages of Buddhist stories compared to the artistry of Dunhuang Buddha statues, and the treatment of Buddha statues is becoming more and more stylized, simplistic, and unartic.
In a word, Dunhuang art has given me the dimension of time and space, and presented the images with a thousand-year history of construction to our times. The great picture created by Dunhuang reflects the world, which further confirms that the open ancient China and the world have always been one.
〇: Your early prints of Buddha statues have a little bit of the feeling of Tokata Zhigong in Japan, is your creation related to him?
W : My work has not been influenced by Tokata Zhigong. The first time I heard the name of Dong Fang Zhigong was when I was in the second year of graduate school, there was an annual teaching inspection, I carved a batch of black and white woodcuts in the shape of a Buddha for the first time, and a teacher looked at it and said: Dong Fang Zhigong is coming. I'm confused – who is Dongfang Zhigong?
Later, looking at his album, I guessed that the old man was a self-taught figure. Because his understanding of modeling is more flat and linear, full of fun, but there is no kind of deep and heavy continental country. Later, I saw the original work of mr. Lao at the Japan Art Hall in Boston, which confirmed my observation even more. However, I still hope to have the opportunity to do an exhibition with Mr. Lao's works to see how Chinese and Japanese artists deal with Buddhist art.
〇: From figurative to abstract, have you ever hesitated? Or do you find it challenging?
W: I went from figurative to abstract, and at the same time from abstract to figurative, and that was just a choice of expression.
Looking back at the past decade or so, I began to move from figurative to abstract. I carved all the Buddhas, Bodhisattvas, Arhats, Vajrayogini, etc., and then started from the part of the statue, depicting the face, hands and torso, etc., and paying more attention to the intervention of spatial elements. Due to the characteristics of woodblock prints, the less the knife is engraved, the more area of ink imprinting will be, and the larger the black area that appears on the paper. Black brings a sense of mystery, and having done more, I can see the texture of the woodcut panels, which I find to be alive and I can choose to "respect" this texture more. At the same time, a plate will have many "defects" - generally students who study woodblock printmaking will use sandpaper to polish the surface of the board and grind the board to be as smooth as a baby's skin, the advantage is that the wood grain will not interfere with the picture, and the disadvantage is to ignore the surface texture of the board and the thickness difference between the texture. In my opinion, this "shortcoming" reflects the uniqueness of this material, which I now describe as "material". Few people have "disassembled" the material of the plate so specifically, or even if it is disassembled, it is in a formal sense, and does not involve the material itself.
Parts of works no. 03280 and no. 03281
Later, I went to the United States to see a lot of retrospectives of masters, including Picasso and Matisse, and I in turn summarized my own four years of creation from graduate school, and the 333 black and white woodcut works should belong to the attempt of modernism, which was the working method of more than a hundred years ago, but with the oriental content and cultural view, there is a relatively complete language of my own art story. Therefore, it can be said that the first four years were from figurative to abstract, and it was an exploration of formal language.
But the problem with the pursuit of abstraction is that the content will be "hollowed out", so I let the material participate in the construction of the content of the picture, or let the material itself become the content. This is a "let-exist" way of thinking, and it is also a direct return to figuration. I will take the initiative to show the texture of the surface of the plate, and use a woodcut knife to uncover the surface, excavate the uniqueness of the material that is obscured, from which you will find the paper tape that the workers paste at will when making the plate, the plaster powder that fills the gaps in order to keep the inside of the wood flat, including the lumps of the wood itself... These 244x122cm standard plates, like a mold, have unparalleled ductility and reproduction, can be increased and decreased according to the needs of the creator and the requirements of the display space, the cheapness of the board also makes the creator reduce the concerns about the creation of funds, and if a plank is not done well, the thickness of 5 mm can also carry the author's repeated changes. I believe that this practice of mine will open up the dimension of thinking of more young creators, and have the courage to explore new materials, new visual presentation methods and new concepts.
〇: Can you talk about the overall logic or method of the works in this exhibition, or the problems behind the thinking, and the differences with previous works?
W : The works in this exhibition, one of which is figurative and the other abstract, each with six panels, are displayed opposite each other on two walls. I attach equal importance to them, because figuration and abstraction are mutually exclusive—abstract works actually have very concrete materiality, while figurative works make people connect with the abstract world outside the picture.
At the exhibition site of "Like Ink and White", two groups of opposite works
No. 03252 and No. 03280
Compared with previous works, this exhibition is also much larger in scale. Since the solo exhibition in 2017, I have not created any works for a year and a half, thinking about how to break through, whether to continue to create in the form of wooden boards, whether to use Buddha statue materials, whether to use oil paintings and paper forms to transform the thinking of wooden boards into the well-known material system... At the end of 2018, I spent more than four months making a set of four Buddhist statues on wooden planks, depicting the cliff murals of the Temple of Lasio in the Northwest Tianshui a year ago, which contained the Three Saints of the West. After making these four large works of large plates, I began to make abstract paintings, which became bigger and bigger, and the plates used were also unsatisfactory wood plank works that had begun to be created in 2017. Because of the distance of time, looking at previous works, there will be a feeling that is both familiar and strange. At this time, the abstract works made are becoming quieter and quieter. Starting in 2018, I set a goal to do a group of figurative works every year for five years. However, these large-scale figurative works are a bit thankless. At present, four works/groups of works have been accumulated, all of which are very large in size and take a long time, and the largest group of six works has been done for six or seven months. However, this kind of large-scale work will always wrap around your creation, so you need to exert more effort to break free.
〇: Can you cite two or three works to talk about separately?
Number 03252, 732x122mm, 2020
Please watch horizontally
W: "No. 03252" This group of works took more than six months, and the six wooden planks were spliced together to reach 7.32 meters, depicting the contents of the Yuanjue Cave of the Dazu Grottoes, which is also my largest scale at present.
In 2019, I visited the Dazu Grottoes in Chongqing alone for the first time. I went very early that day and saw a monk with a group of followers looking at the grotto, and I followed, sometimes listening to the monks "reading the caves", sometimes experiencing it myself. In cave twenty-nine, because there is no artificial light, only a door opening is opened at the highest point in front of the entrance of the cave, and natural light can be slightly shot into the cave, so the explanation at that moment becomes dramatic. The monks elaborate on the role of "light" in shaping the atmosphere of space, and without religious preaching, they are talking about "light" and space.
After returning to Beijing, I went to the library of CENTRAL AMERICAN to consult the information about the Yuanjue Caves in Sichuan, especially the information on the twenty-ninth cave of the Dazu Grottoes, and the group of works created later was equivalent to compressing the contents of the two facades of the cave (one façade is six bodhisattvas, the other façade is the Buddha and the Bodhisattva) on one plane, so there will be some difficulty in creation, because according to the actual situation, the bodhisattva and the Buddha are sitting, but if according to this system, the whole work will be relatively flat. So about the first Buddha and two disciples, I not only referred to the materials, but also repeatedly thought about it for more than two months, one accidental night, I was ready to go to the airport to pick up my wife, and I took the shape of these three images with a fierce heart, and it turned out that it was very correct. In addition, instead of using the actual light source direction of the cave in the picture, I set the light in the direction of the Buddha, one of the reasons is because there is a small window on the side of my studio, although it is not large, but it is very bright, and the light just guides my composition on the picture.
The light from the skylight on the right just cuts the planks obliquely, giving the artist the most natural inspiration
Compared with the Dunhuang Grottoes, the Hexi Corridor Grottoes and the Northern Qi statues in the Qingzhou Longxing Temple, which I mainly studied, Dazu gave me a more secular impression, and everyone's "consensus" is not advanced. But many of my earlier works, especially on paper, used image materials from grotto statues in Sichuan and Chongqing, and in retrospect, these statues are closer to "life" but have not lost their "divinity".
Number 022, 1900x1220mm, 2014
The work "No. 022" was completed in 2014. I "translated" the final stage of the 333 prints on paper from the paper to the wooden board, using the unique material properties of the panels to create this "solo" work. It uses the story materials of Shakyamuni and Rahu in Cave 133 of the Buddha's Kingdom Maijishan, but I only selected the part of Shakyamuni shakya. The "empty shape" (the wooden primary color part) above the work is larger, and the "empty shape" below is smaller, expressing "big and small" with an abstract shape. The big one is Shakya, the little one is Shakya's son Rahu, and the hand is the connection, the giving of the "big" to the "small."
〇: You have often visited The Zhenrong Temple in Shanxi in the past year, what impact did that experience have on your creativity and mentality?
W: I went to Zhenrong Temple because my wife Zhang Ran has been shooting a documentary "Shelter from the Rain Shelter" since 2020, and I am a "producer" and have to play many roles besides director and cinematographer. Regarding the impact, for me, the monks, the laymen who worked in the temple, the providers, as well as the designers and ordinary craftsmen on the construction site, reminded me of the craftsmen, providers and monks in the Mogao Grottoes in Dunhuang, etc., but the craftsmen of that year were nameless so-and-so, and I can now go deep into their working environment and watch their daily chanting and labor. What they think is very vivid and vivid, and in the more than two years of shooting experience, I have also sensed some energy, which should bring new dimensions to future thinking and creation.
〇: Are you concerned about the trend of art in the world and the overall situation of China's art scene at present?
W: That's a good question. I think the vane of the world art trend, I think war, human rights, immigration, racism, feminism, etc., are still booming, with the rise of China, China's story is also a direction of narrative, but how to present, indeed needs to be curators and artists to think together.
〇: At this stage, is there a certain answer to this question, that is, what is the ultimate goal of doing art?
W: The ultimate goal of art is man, heaven and earth, and the universe.
〇: You have been participating in the study and discussion of "insight" for the past two or three years, what impact has this had on your creation and thinking?
W: I feel that participating in insightful activities is an opportunity for me to see the world holistically. Science, art and humanities are part of everyone's body, and it is a luxury to construct a complete "person", and by inviting scholars with deep thinking in various disciplines to give lectures, and doing more in-depth private classes according to the thinking generated by the lectures, it can indeed greatly improve my cognitive level and overall observation ability. For example, Professor Huang Yusheng of the Department of Philosophy of Tsinghua University "Kant and Modern Society - An Introduction to the Critique of Practical Reason", Professor Xu Hong, a researcher at the Institute of Archaeology of the Chinese Academy of Social Sciences, "The Great Exploration of the Source - Three Thousand Years of Early China as Seen in Duyi" and Xu Xiaohu's "Appreciation of Ancient Calligraphy and Painting", as well as the lectures of Professor Zhang Hongbao of the Department of Physics of Beijing Normal University on quantum physics, undoubtedly gave me a new understanding in the fields of philosophy, archaeology, calligraphy and painting, and quantum physics.
〇: What is the usual state of life?
W : Because the studio and home are one, I got up and started working, which may have been the norm in the sixteen years since I came to Beijing. Living conditions are more and more comfortable, there is a separate yard, leisure is to go to the yard to take care of the greenery.
Wang Qibiao's studio interior and courtyard
〇: Books/movies I have been reading recently, and issues of concern.
W: I read a lot of books, mostly in the humanities and arts. Movies, because mrs. do this industry, watch a lot of people, but recently mainly in the creation. The thing that concerns is the narrative logic of the post-epidemic Chinese story.
〇: Recently I heard and witnessed absurd things.
W : What happens in reality is more wonderful than the novel, constantly reversing, constantly subverting the three views. Perhaps everything we encounter has become the material for future movies and novels.
〇: A recent dream.
W: Unfortunately, I am a person without dreams.
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More exhibition pictures
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