Pace Galleries


Fade Out

Qiu Xiaofei Farewell 1, 2018. oil on canvas, 200 cm × 150 cm (78-3/4" × 59-1/16").

Qiu Xiaofei Farewell 1, 2018. oil on canvas, 200 cm × 150 cm (78-3/4" × 59-1/16").

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About 仇晓飞

仇晓飞的艺术实践包括油画、水彩、三维绘画雕塑及装置,将概念与美学以独特的方式联接到一起。他的作品很大程度上关心的是与记忆有关的图像溯源学,个人经验与历史之间的关系,而近期作品更多强调的是绘画的心理过程与视觉形式之间的联系。 他的画唤起了记忆的梦一般模糊不清的情态,许多画取材自艺术家自己童年时的照片,最近的一些作品则是将一些绘画与物体巧妙的连接起来,各个部分之间除了制作时间上的先后顺序外还有一些潜意识上的因果关系。这些“思考转向”所呈现的线索,是艺术家对“过程性、潜意识与个体体验”的进一步探求。 不管怎么说,仇晓飞的作品不是简单的对于过去岁月的渴望,也不是对于那些从来就没有出现过的时光的怀旧沉思。更适合地说,这些画、雕塑及装置代表了一种复杂的尝试——试图精确地呈现经验是如何渗入感知之中,而这些感知又是如何在时光中变形;记忆如何被再次唤起并进入经验,以及全部这些过程又是如何在已经消失的错综复杂的现实中结合到一起的。
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Press Release

  • Fade Out

    Pace is honored to announce Fade Out, a solo exhibition of work by Chinese artist Qiu Xiaofei. Qiu held his first Korean exhibition at Seoul’s Doosan Art Center in 2009. Now, a decade later, the artist will display a new series of work through which he has continued his exploration and contemplation of the art of painting.

    A representative figure of China's New Generation artists, Qiu Xiaofei takes a cognitive approach to painting, focusing on the effects that color and visual images have on the mind and consciousness. Unlike other recent exhibitions of the artist’s work,Fade Outis a structured presentation: four gray-green toned oil paintings, placed among several small-format landscapes and works on paper, are arranged along six powder blue walls, the color of which gradually deepens as if the light is slowly moving across the space. Two pieces,Farewell 1andFarewell 2, occupy the focal point of the exhibition hall; in these paintings, enigma-like figures and landscapes emerge from the gloom.

    The small landscape paintings interspersed between them,Evening MistandAfterglow, provide viewers with anchor points for mood, and also hint at the sunlight’s gradual retreat. By repeatedly working on the identical compositions inConstancyandImpermanence #1, a suite of works on paper, Qiu drapes a tone of changing time over his imaginary and fantastical scenes. This working method conjures up thoughts of Monet’s Rouen Cathedral series. However, in this series, the artist uses ephemeral imagery of the unconscious as constant figures. The entire exhibition is akin to the end of a silent movie played in a constant loop; amid this gradual and cyclical fade to darkness, these paintings seem to be flickering fragments of memory.

    Qiu’s new works reveal further reflection toward images and the language of painting, evoking not only the prolonged discussion of representation, but also a more conscious initiative: to awaken the potential of human perception hidden in the depths of the mind. It is not hard to recognize another thread woven throughout this exhibition: time, being prompted by the intentional movement of light in the space, and the literal meaning of the phraseFade Out. Consider the artist’s immediate experience with the gradual passage of time in his daily life. In an experience like this, the painter is no longer depicting objective things, but rather retreating into a part of life and nature together with the act of painting. This also transforms the site of the exhibition into a synchronic field, where the artist hopes to establish a more equal relationship of communication, connection, and coexistence between himself and the audience, as well as among the audience itself. It attempts a new form of group relation, which relies on humanity’s eternal puzzlement over the notion of time and on humanity’s innate sensibility and imagination, referring to a direct perceptual experience and synesthetic physical resonance through painting.

    In this fragmented cyber age that has lost its sense of wholeness, Qiu’s work strives to portray the ineffable. It is indeed in this regard that painting as a time-honored human activity still maintains its pioneering nature today.

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