Solo Exhibition OCT Boxes Art Museum, Shunde
Artist: Guo Gong
Curator: Hu Bin
Organizer: OCT Boxes Art Museum
Art Directors: Zhou Li Liu Ke Work Team: Guo Yan Wu Jing He Jinfang Deng Zijun Yuan Zeqiang Yan Jin Chen Sijia Zeng Yun Yang Shixiao Zhang Yating
Coordinator: Oil Painting Department Curatorial Group of Guangzhou Academy of Fine Art
Co-organizer: Daliang Culture Centre
Consultant: Institute of Art and Culture Innovation Research and Development, Sun Yat-sen University
Preface
By Hu Bin
Nature and society have formed their internal rationale in the long-term development process whereas people have never stopped the pace of reformation, and seldom earnestly seek the answer of the existing laws and question ourselves. As for art, the artist Guo Gong is a persistent person who tries to find out the truth. He mainly confirms it through intuition. It may be his prejudice. This confirmation even transcends the body, perception, and imagination, like an apocalypse.
Such “prejudice” is a way of dealing with things from the inside out. This does not refer to the way to be kind to others, but to communicate with things by contemplating the heart. In this exhibition, natural or artificial materials such as wood, steel, and stone are still the main media of Guo’s works, and it reveals his exclusive artistic temperament in simple forms. As "natural carving knives", there are uncontrollable factors such as light, smoke, gas, and fire. The light emitted from the odd black bulbs in the ocean of Fog is like a trembling air pad in the wind, the wooden structure shows the texture of animal skin roasted on fire…entanglement with controllable and uncontrollable power reveals the spread pressure. This is congenial communication between Guo's life beings with the world. Each of us feels the secret universal power in it, however, but our feelings are often unable to communicate. The world has become an “archipelago” composed of many islands.
It should also be mentioned that the location of the exhibition is a “white box” in an artificial garden. The museum itself is regarded as a prejudiced space. However, this kind of prejudice has become a subject. The work is not shaped by the space, but to submerge into the white box, to poetize this space, and listen to the lingering sound of the pillars.
In this way, the “prejudice” can be said to be another samma-ditthi (right views).
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