Born in Quanzhou, China in 1974, Guo Weixuan received his MFA from China Academy of Art in 2009. He currently lives and works in Hangzhou and Beijing. Originated in traditional Chinese ink painting, he then sought for the integration of spirit and nature in oil color in his artistic oeuvre. This past experience prompts Guo’s works permeated with a unique notion of Zen contemplation generated from Chinese ancient aesthetics. Different from traditional Western oil paintings with vibrant colour scheme, Guo reduces the colour saturation in his works and constructs space in the seemingly flat unified tone. Insisted on truth to natural appearances, Guo deliberately avoided the elementary laws of perspective as well as the use of shadows to demonstrate manifestation in stead of reappearance of nature. 

 

“The Chinese concept of perspective, unlike the scientific view of the West, is an idealistic or suprarealistic approach, so that one can depict more than can be seen with the naked eye. The composition is in a ladder of planes, or two-dimensional or flat perspective.” (Da-Wei 1990, p.70)

 

Relying on the principle of oblique orthographic perspective, Guo incorporates a significant amount of convergence among orthogonal within local regions of a scene, reducing the strong illusion of divergence that is illustrated in the strict orthographic scheme. The application of the scatter perspective intrigues the audience into the realm of the painterly landscape.

 

Guo's passion towards nature is reflected incisively and vividly in his artistic creation, with a particular interest in depicting trees. His brushwork is soft, delicate, and ethereal, constantly attempting to capture a blend of personal life experience and environment. In his works, every tree and grass is endowed with divinity, and the elegant composition contains the eternal state of life.

 

His works is featured in major institutional collections worldwide, in particular Zhejiang Art Museum, Hangzhou; E’LAND, Seoul; China Academy of Art, Hangzhou.