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Guo Yan, born in Shanxi, a free artist living in Chengdu City, graduated from the Oil Painting Department Of Xi��an Academy of Fine Art in 1995.
2007 Curtain��group exhibition in feizi gallery shanghai,china
Floating��New generation of art in china seoul korea.
��5+3�� Beauty Artists Fine Works Exhibition,Chengdu
��Potential Chengdu�� Young Contemporary Artist Exhibition 2007,Chengdu
Sihai Art Institute ��Invited Artist Exhibition��, Chengdu
2006 Z Arts Gallery ��Contemporary Art Exhibition ��, Chengdu
The First ��New Power China�� Contemporary Art Biennale 2006 ,Beijing
The First ��New Power China�� Contemporary Art Biennale 2006 ,Shanghai
Macao ��Chengdu Youth�� Contemporary Art Exhibition, Macao
��Spring Salon�� Oil Painting Exhibition, Chengdu
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By Rong Peng
Yan Guo��s series of artwork ��Gone with the Wind�� adopts the colour purple as its foundation. This work of art captures the contemporary urban experience of human survival �C the entanglement and alienation between humankind and the city. These pictures effect sorrow in their viewers. Henri Lefebvre, a prominent philosopher in the study of contemporary urban space and culture, raised the critical theoretical question: ��what are the social relationships embedded in space?��. In his book The Production of Space, Lefebvre answered this question by using ��space��. In his view, social relations are based on the very existence of urban space and production. Space, according to him, is anything but the ��passive locus of social relations��. We see this point in the unprecedented development of China��s cities in the last 20 years. Daily, China��s urbanites hustle and bustle through concrete jungle. In pace with the growing pursuit of materialistic wealth, the jungle has become increasingly lofty and domineering,? creating a distance between its inhabitants. The realities of homelessness and depression have been gradually masked by position, power and wealth. The beauty of the natural environment external to the urban space can only be experienced in the illusions of our dream world. Dramatically, on the vast expanse of her canvas, Yan spreads the most extravagant and mysterious shade of purple �C conveying her dreams of a happy life yet endless homesickness.
Purple, the color of femininity, is wielded expertly in Yan��s hands. In each of her paintings, shades of purple express the dreams of the urbanites. In these implicit scenes, young lovers lean against a bed whilst floating high above the city buildings. Its allegoric tension reminds us Marc Chagall��s warm pictures of a space-time paradise. If, as Lefebvre said, the real world is trying to strengthen its material base and social structure by creating more urban space, then the only thing artists can do is use their artworks to settle down their wandering hearts. Yan exposes her intimate thoughts and feelings in her paintings. The letter T and arbitrary contours are smeared across the canvas in a deep, dark purple, achieving the likeness of large urban complexes. The image conveys a contemporary urban life �C? a sense of complexity, chaos, and noise, is cast like a net over the surroundings. Above the city, a warm hue of pink-purple transforms into mattress, bed sheet and pillow �C white enhances the elegant yarn of the material. Young lovers hug, in their sweet dreams they fly in the quiet night away from reality. By escaping from the cold world they capture love and warmth. Whether Yan Guo is expressing her notion that ��love�� is the one true path of salvation from the city��s coldness? Purple, Yan Guo has constructed a Utopian love in which the urbanites can escape the confines and entrapments of urban life. Like the magic carpet of Arabic mythology, can Yan��s mattress transport the lovers to their longed for utopia? These two symbolic themes, ��Gone with the Wind�� and ��Dream��, reveal the artist��s hesitation and brooding over the question. The dark and light shades of purple reflect her contemplative mood.
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Marooned on ��The New City Fable��
Chen Mo
Guo Yan��s art carries with it a kind of elusive aura of the new city fable. It starts on the basis of the consideration of issues emanated from the process of urbanization. The monstrous fog of boisterous economic growth, and abusive expansion of information network, enshrouds the entire society. The rich continue to be rich, the destitute aspire to get rich, and the impatient steal. Bunches of corrupt officials grow on the wake of the fall of bunches of corrupt officials. Lots of citizens learn to be good and lots of them learn to be bad. Wealth tends to be concentrated in a small minority and the majority was poor. Ethics and morality have gradually got stuck at the level of books .Honesty and faith is more often than not are merely virtues of forefathers to be adored. It can be said that unprecedented vacuum and disorder has silently invaded without the slightest premonition of people. In circumstances which cannot be ignored or avoided, daily occurrences right under people��s nose are likely to be borrowed, from the angle of sociology, for the use of creative work. Guo Yan��s works of art can generally be divided into two stages: namely, the earlier stage of ��The Purple Impression�� series and the recent ��Float�� series. The basic framework of these two series was the city, and man and woman. The so called ��city�� concept was at the same time both clear and blurred. This is due to the fact that in the pursuit of profit, city and village are unified but farming is not. The boundary will naturally become unclear for being ��unified��. The price for this is the dissolution of their respective charm for the sake of satisfying the vanity of the moment. On the other hand, man and woman are the basic component units of the body of various social strata, and are the source of various issues. This is at the same time the ever popular theme of literature and art, past and contemporary. To quote this writer��s words: ��As we live in the midst of conflicting confusion of urbanization, we hold a primitive desire for Nature.�� The primitive desire for Nature will intensify on the ever deepening of this kind of confusion. No wonder people are nostalgic because in the nostalgia, there are pastoral lyrics, family love, countryside partying and singing and dancing family relations. All these are almost like mirage. When we gradually travel farther away, or when mankind no longer live childhood, or when we are so ��destitute�� as to have lost everything except money, all we can do is to play the roles of spirits floating in the twilight of the city. Those men and women traveling on ��flying carpets�� are adorned with the moist warmth and seduction of purple. There are hidden sickness and risks of grey. There are fabulous weirdness and romance. All these, managed by the precise language of the artist, and presented and characterized pictorially, have consummated the definite outcome of causation.
April 2007 at The Temple of Dragon King, Chengdu
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