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Pure Evanescence
  Martin  
 

    Environmental decay, economical decline, extinction, war and pollution – these are the headliners in our daily newspaper in every country. As an artist who loves peace and advocates universal balance, the mounting self destruction apparent in our world deeply affects Wan Tai Feng. Just like many of the Chinese artists emerging after the 80s; those who are exposed to global influences, fast paced changes and the secularization of China, Wan often draws his inspiration from urban issues of social emptiness, cultural indifference, consumerism as well as environmental and political upheavals.

    Since his 2007 series, Wan has explored the issues of urban progression in relation to the erosion of true liberty and synergy. With the increasing march towards economic advancement, he often raises this question through his work: Have we forgotten our true nature? With the social construct of what is natural to us being gradually synthesized with the popular culture of capitalism, Wan seems to feel that we, as a species, have slowly forgotten our own natural and spiritual being and as such are swiftly destroying the beautiful and ethereal world we reside, all in the name of progress.

    His latest installation of paintings depicts the power struggle between Man and Mother Nature, as well as the impact left behind. Wan’s paintings try to provoke the urgent need for respect between man and beast and his whimsical yet romantically elegant strokes that vividly describe the lush beauty of nature, pay tribute to why there is a need for peace, love and harmony.

    Wan's earnest call for peace is romantic, classic yet distinctly Chinese in flavour. In fact, what he desires and seeks to convince is an age-old belief shared by his predecessors – that man and nature have to live harmoniously in order to survive. But in a style uniquely his, Wan prefers to draw upon metaphors to convey his thoughts. And these symbolic characters also parallel the “same- ness” of the plight between man and creature. His peacock depicts beauty and elegance; his leggy deer evokes longevity while his rabbit is the epitome of innocence. In fact, Wan often juxtaposes these white fluffy animals against a backdrop of darkly painted stories –like a ray of hope in a world torn apart by consumerism, greed and self destruction, these animals seem helpless and in need of protection and preservation. Just like the vision of a utopia he dreams about – that eventually, this world will return to an equilibrium that embraces purity, integrity, love and an existence that is full of grace.

   

      






  代理藝術家 • Represented Artists  
  李鐵夫 • Li Tie-fu   韓黎坤 • Han Li- kun
  胡善餘 • Hu Shan-yu   劉懋善 • Liu Mao- shan
  萬今聲 • Wan Jin-sheng   卓鶴君 • Zhuo He- jun
  田世信 • Tian Shi-xin   馬小娟 • Ma Xiao- juan
  亦云  • Yi Yun   陳向迅 • Chen Xiang- xun
  張珺  • Zhang Jun   顧迎慶 • Gu Ying- qing
  鄭岩  • Zheng Yan   朱紅 • Chu Hung
  徐澤 • Xu Ze   鄭力 • Zheng Li
  周紅  • Zhou Hong   彭小沖 • Peng Xiao- chong
  陳欣  • Chen Xin   張銓 • Zhang Quan
  萬太豐 • Wan Tai-feng   雷苗 • Lei Miao
  金昌烈 • Kim Tschang-Yeul   張見 • Zhang Jian
  李桓權 • Yi Hwan-kwon   高茜 • Gao Qian
  李在孝 • Lee Jae-hyo   楊運高 • Yang Yun- gao
  中原  ちひろ • Nakahara Chihiro   鄧先仙 • Deng Xian- xian
  鄭 治 • Zheng Zhi   李嘉津 • Li Jia-jin
      葉 帆 • Yeh Fan
      陳 夏 • Chen Xia
      唐多鵬 • Tang Duo-Peng



 
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