Peng Yong
Peng Yong | produced by YISHU 8 China Award
YISHU 8 China Award – Peng Yong’s Solo Exhibition 'The Blues' opened
by SUE WANG on Nov 7, 2014
Peng Yong is an earnest and hardworking artist.
His work is composed of many 50 x 50 cm master plates, producing prints which freely connect with each other, closely related to the exhibition space, to create a changeable artistic effect. Like most of the construction processes of a standardized building, the inner module determines the scale and change of the building, which plurality thinking of Peng Yong’s work is based on, the screens are divided into similar sized grids by a variety of horizontal and vertical, thick and thin straight lines, arbitrarily combining them according to different exhibition venues and offering exhibition effects, and even spreading to the three-dimensional space. The uniformity and abundance presents an abstract aesthetic feeling and dynamic rhythms.
Peng Yong is also a thinking artist.
The cumbersome and expressionless screens of his works present a special beauty of order as well as the sense of desolation of the modern urban buildings. Lonely buildings stand in silence, as if they are the residues of the universe. Concentrated and depressive black blocks are as colorful as floating bubbles of the bright colored texture. “Plurality” becomes a resonant superposition instead of citing and piling up symbolic images. He calls it “integrating many into one”. Perhaps it is a practice of Buddhism for him, infinitely repeating the name of Buddha, constantly practicing the Teaching of the Buddha, to gain the purification, gradual enlightenment, and a purer ego.
Text by Tan Ping
Peng Yong is an earnest and hardworking artist.
His work is composed of many 50 x 50 cm master plates, producing prints which freely connect with each other, closely related to the exhibition space, to create a changeable artistic effect. Like most of the construction processes of a standardized building, the inner module determines the scale and change of the building, which plurality thinking of Peng Yong’s work is based on, the screens are divided into similar sized grids by a variety of horizontal and vertical, thick and thin straight lines, arbitrarily combining them according to different exhibition venues and offering exhibition effects, and even spreading to the three-dimensional space. The uniformity and abundance presents an abstract aesthetic feeling and dynamic rhythms.
Peng Yong is also a thinking artist.
The cumbersome and expressionless screens of his works present a special beauty of order as well as the sense of desolation of the modern urban buildings. Lonely buildings stand in silence, as if they are the residues of the universe. Concentrated and depressive black blocks are as colorful as floating bubbles of the bright colored texture. “Plurality” becomes a resonant superposition instead of citing and piling up symbolic images. He calls it “integrating many into one”. Perhaps it is a practice of Buddhism for him, infinitely repeating the name of Buddha, constantly practicing the Teaching of the Buddha, to gain the purification, gradual enlightenment, and a purer ego.
Text by Tan Ping
