Artworks by Qin Feng

Angel by Qin Feng

142 x 75 cm
Ink on Paper

Angel no. 22 by Qin Feng

142 x 75 cm
Tea, Coffee & Acrylic on Paper

Angel by Qin Feng

142 x 75 cm
Coffe, Tea & Acrylic on Ceramics Paper

Desire Scenery no. 054 by Qin Feng

150 x 290 cm
Acrylic on Silk Cotton Paper

Desire Scenery no. 068 by Qin Feng

160 x 160 cm
Ink & Acrylic on Paper

Desire Scenery no. 1191 by Qin Feng

165 x 81 cm
Ink on Paper

Desire Scenery no. 1189 by Qin Feng

81 x 165 cm
Ink on Paper

Desire Scenery no. 100 by Qin Feng

160 x 160 cm
Ink & Acrylic on Paper

Desire Scenery no. 065 by Qin Feng

200 x 145 cm
Ink on Paper

Desire Scenery no. 083 by Qin Feng

160 x 900 cm (3 panels)
Ink & Color on Paper

Desire Scenery no. 1190 by Qin Feng

81 x 165 cm
Ink & Color on Paper

Landscape Society by Qin Feng

60 x 9600 cm
Ink & Color on Paper

Portraits of the Great No. 063 by Qin Feng

180 x 150 cm
Ink & Acrylic on Linen Paper

Desire Scenery No. 0615 by Qin Feng

Ink & Acrylic on Linen Paper
160 x 320 cm

Desire Scenery No. 6832 by Qin Feng

Ink & Acrylic on Linen Paper
151 x 281 cm

Desire Scenery No. 1516 by Qin Feng

Ink & Acrylic on Linen Paper
260 x 160 cm

Desire Scenery No. 6831 by Qin Feng

Ink & Acrylic on Linen Paper
281 x 151 cm

Desire Scenery No. 1517 by Qin Feng

Ink & Acrylic on Linen Paper
260 x 160 cm

Qin Feng

秦风

Compass and Missile Together: Qin Feng’s Recent Paintings by Britta Erickson

In preparation for writing this catalogue essay, I visited Qin Feng’s Beijing studio to talk with him about his new works, and then followed up with a list of questions that addressed issues I hoped to understand better. Over the years I have visited his studios in Beijing and Boston and enjoyed many fascinating discussions with him about art and life. In the past, when writing about Qin Feng’s oeuvre I have set a dispassionate scholarly tone. But this time I feel happily compelled to begin with a few personal observations. They have helped me to make sense of the power and complexity of Qin Feng’s work.

Ms. Susanna Yang with established artist Qin Feng
YANG GALLERY Managing Director Ms. Susanna Yang with established artist Qin Feng.

Using an enormous brush to deploy buckets of paint or ink onto canvas or paper laid on the floor requires tremendous strength. Were he not in top physical condition, Qin Feng would be unable to produce brushstrokes humming with such life. The raw power of his brushwork can be almost overwhelming, and at times I struggle with accepting it. In terms of traditional standards of Chinese painting, such an overt display of strength would be considered vulgar, but Qin’s paintings are not intended to be viewed from such a point of view. The size, strength, and energy of his paintings all are a reflection of the artist himself. Born in the steppes of Xinjiang in China’s far northwest, a place where the horizons stretch to infinity, he radiates a sense of expansiveness himself, as if it would be impossible to contain him, his energy and imagination, within a smaller space than that he now occupies. To express himself satisfactorily, I found Qin Feng had switched between classical Chinese and everyday modern Chinese in a way that must feel quite natural to him, permeated with metaphors and allusions, and rapidly veering toward the abstract. To read his paintings can be a similar experience: beginning as something that supports reasoned analysis, but then arriving at a point where only a wild leap of faith can bring meaning into focus.