Faraway Breeze

Guo Kai
September 15 – 25, 2018
National Sun Yat-sen Memorial Hall, Taipei

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Installation View, National Sun Yat-sen Memorial Hall
Installation View, National Sun Yat-sen Memorial Hall
Installation View, National Sun Yat-sen Memorial Hall
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Installation View, National Sun Yat-sen Memorial Hall
Installation View, National Sun Yat-sen Memorial Hall
Installation View, National Sun Yat-sen Memorial Hall
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Guo Kai, Misty Remote Village, 2018
Guo Kai, Tranquil Waters, 2018
Guo Kai, Empty Mountain Spring No. 1, 2018
Guo Kai, Empty Mountain Spring No. 2, 2018
Guo Kai, Quiet Fantasy No. 1, 2018
Guo Kai, The Impression of Huizhou No. 1, 2017
Guo Kai, Snow in Secluded Valley, 2017
Guo Kai, White Bridge No. 2, 2017
Guo Kai, Colors in Shadows, 2017
Guo Kai, Huizhou No. 2, 2015
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Guo Kai, <i>Misty Remote Village,</i> 2018
Guo Kai,<i> Tranquil Waters,</i> 2018
Guo Kai,<i> Empty Mountain Spring No. 1,</i> 2018
Guo Kai,<i> Empty Mountain Spring No. 2,</i> 2018
Guo Kai, <i>Quiet Fantasy No. 1,</i> 2018
Guo Kai, <i>The Impression of Huizhou No. 1,</i> 2017
Guo Kai, <i>Snow in Secluded Valley,</i> 2017
Guo Kai, <i>White Bridge No. 2, </i>2017
Guo Kai, <i>Colors in Shadows, </i>2017
Guo Kai, <i>Huizhou No. 2, </i>2015
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Guo Kai’s brush captures the beauty of Huizhou, not in a solely realistic manner, but in response to his emotions, dreams, and personal perception of nature, in a balance between scenery and self, and also heaven and man. His landscape paintings are seemingly shrouded in layers of colorful dreamlike mist, in which blurry sunsets, aged trees, windy ponds, and vast mountains, sing with poetic resonance, giving the viewer a calming sense of spring. In his recent works, his brushwork, composition, and color have become even more refined and elegant, carrying the spirit of ancient masters, like a faraway breeze, into the golden age of the Song and Yuan Dynasties.

Elaine Suyu Liu, Curator

National Sun Yat-sen Memorial Hall, Wen Hua Gallery
505 Renai Road, Taipei

September 15 – 25, 2018
Reception: Saturday, September 15, 3:00 pm
Hours: 9:00 am – 6:00 pm

Exhibition Catalog

Faraway Breeze

Guo Kai Solo Exhibition Lofty Culture & Art, 2018 © Loftyart Gallery

Related Exhibitions

Beyond Abstraction

Wang Yigang
May 5 – June 2, 2018

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Wang Yigang, S66, 2016
Wang Yigang, S131, 2017
Wang Yigang, S94, 2017
Wang Yigang, S98, 2017
Wang Yigang, R17, 2016
Wang Yigang, S95, 2014
Wang Yigang, Abstract Work No. 28, 1993
Wang Yigang, Absract Work 1992, No. 38, 1992
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Wang Yigang,<i> S66,</i> 2016
Wang Yigang,<i> S131,</i> 2017
Wang Yigang,<i> S94,</i> 2017
Wang Yigang,<i> S98,</i> 2017
Wang Yigang,<i> R17,</i> 2016
Wang Yigang, <i>S95,</i> 2014
Wang Yigang, <i>Abstract Work No. 28,</i> 1993
Wang Yigang, <i>Absract Work 1992, No. 38,</i> 1992
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In the 1980s, as a student at Lu Xun Academy of Fine Arts, Wang Yigang began his pursue for individuality and self-expression, and adopted Western Modernism in retaliation against conservative art education. After ten years of experimentation with different styles, Wang favored German Expressionism by the early 1990s, which he studied, experimented, but ultimately rejected. By the late 1990s; however, Japanese Post-war art movements caught his attention, particularly Mono-ha and Gutai, which drew upon and expressed Eastern culture on the basis and success of Western Modernist modes. This prompted Wang to revisit Eastern culture, especially Buddhist Chan (Zen) philosophy, which redirected his struggle for individuality toward self-understanding. In this awakening, his internal struggle transformed from against the society to the self, and in self-criticism, he found an abandonment of all conventional painting practices and discovered new meaning purely in the movements of his body during the act of painting. In this way, every artwork became a record of his movements through space and time.

From experimentation, rejection, to self-awareness, Wang Yigang’s art transcends the painterly image, rejects all conventional practices, and ultimately goes Beyond Abstraction.

May 5 – June 2, 2018
Reception: Saturday, May 5, 3:00 pm
Hours: Tuesday – Saturday, 2:00 – 6:00 pm


Xue Song
January 6 – March 4, 2018

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Xue Song, New Heights, 2015
Xue Song, Spring Colors, 2013
Xue Song, Autumn River Boating, 2015
Xue Song, Sailing Amidst Mountains, 2016
Xue Song, Tribute to Rothko I, 2015
Xue Song, Dialogue with Mondrian No. 4, 2012
Xue Song, Dialogue with Mondrian No. 8, 2012
Xue Song, Autumn Colors, 2016
Xue Song, Calligraphy Imagery, 2014
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Xue Song, <i>New Heights,</i> 2015
Xue Song, <i>Spring Colors,</i> 2013
Xue Song, <i>Autumn River Boating,</i> 2015
Xue Song,<i> Sailing Amidst Mountains,</i> 2016
Xue Song, <i>Tribute to Rothko I, </i>2015
Xue Song, <i>Dialogue with Mondrian No. 4,</i> 2012
Xue Song, <i>Dialogue with Mondrian No. 8,</i> 2012
Xue Song, <i>Autumn Colors, </i>2016
Xue Song, <i>Calligraphy Imagery,</i> 2014
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Pine smoke ink, famous throughout China, is a type of precious inkstick made from pine soot, or the deposition of smoke particles from burning pinewood. Xue Song, who is named after the great pines (song in Chinese) of Yellow Mountain, begins his collages by burning printed images, in which the ashes are collected and mixed into his paint; this artistic practice and synthetic medium can be regarded as a new Pine Smoke Ink.

Since the late 1990s, Xue Song has made extensive use of traditional Chinese calligraphy and painting, either as ready-made images for his burnt collage, or as classical themes to be reinvented in a contemporary context. Although his practice is derived from Pop Art, it carries a profound sense of Chinese culture and the spirit of ink painting. The artistic practice of Pine, Smoke, Ink opens a new chapter in genre of Modern Ink.

Ink Asia 2017
Hong Kong Convention Centre
December 15 – 17, 2017

Gallery Touring Exhibition
January 6 – March 4, 2018
Hours: Tuesday – Saturday 2:00 – 6:00 pm

News & Announcements

Exhibition Catalog

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