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拍品专文
Untitled evokes a standing figure. Lines emanate from his visage, perhaps representing energy flow from the brain, and suggesting the shape of a human torso. Several smaller faces emerge throughout the body, which may delineate pressure points, where Fengyi focused her energy during her acupuncture and cosmological practices, as well as Fengyi’s consciousness as explored in her practice of qi-gong. A flowerlike mandala at the center of the figure is the origin of her energy, as she began her works in the centers of her images.
Guo Fengyi worked at a rubber factory in China before severe arthritis forced her into early retirement at the age of 39. She sought to heal herself through the ancient technique of qi-gong—a practice combining philosophy, martial arts, breathing regulation, and meditation. Through this, Fengyi entered many states of consciousness, which she would channel in her drawings. Fengyi also drew on reflexology and acupuncture to inform her artistic practice, and she incorporated symbols to represent pressure points and the body’s meridians. Fengyi inscribed the time 1:30-5:00 on this work, perhaps documenting a meditative state during which the work was completed. The time record may mark her progress of self-healing alongside her reflection of the experience.
Visual references to traditional Chinese artistic practices are also found in Fengyi’s works. Faces of unspecified lords and Chinese dragons appear, showing her interest in Chinese mythology and philosophy. These mystical subjects were inspired by her study of the I Ching (Book of Changes), concerning acupuncture, cosmology, energy maps and other traditions she believed were no longer valued in modern China.
Although Fengyi did not identify as an artist and often rejected the designation, appreciation of her output as Art was solidified through a collaboration with Judy Chicago on site-specific works for the Long March Project in China, 2002.
- N. Nalle
Guo Fengyi worked at a rubber factory in China before severe arthritis forced her into early retirement at the age of 39. She sought to heal herself through the ancient technique of qi-gong—a practice combining philosophy, martial arts, breathing regulation, and meditation. Through this, Fengyi entered many states of consciousness, which she would channel in her drawings. Fengyi also drew on reflexology and acupuncture to inform her artistic practice, and she incorporated symbols to represent pressure points and the body’s meridians. Fengyi inscribed the time 1:30-5:00 on this work, perhaps documenting a meditative state during which the work was completed. The time record may mark her progress of self-healing alongside her reflection of the experience.
Visual references to traditional Chinese artistic practices are also found in Fengyi’s works. Faces of unspecified lords and Chinese dragons appear, showing her interest in Chinese mythology and philosophy. These mystical subjects were inspired by her study of the I Ching (Book of Changes), concerning acupuncture, cosmology, energy maps and other traditions she believed were no longer valued in modern China.
Although Fengyi did not identify as an artist and often rejected the designation, appreciation of her output as Art was solidified through a collaboration with Judy Chicago on site-specific works for the Long March Project in China, 2002.
- N. Nalle