Linda Gallery is pleased to present the artworks by Chinese artist Guo Jing, Tian Longyu, Wang Xuan, Xiao Hong and Xue Song at Booth A2 of the Beijing Contemporary Art Expo.

·Guo Jing’s paintings are primarily realistic, often depicting a specific scene or a particular object as the subject. In the choreographed composition, the details and individuals are deliberately amplified, so the audience will often feel unease from these realistic but different images. In images full of metaphors and symbols, a narrative of “absurdity” grows more assertive in an extraordinarily restrained and calm order. Under specific rules set by Guo, the apparent “conflict” is highly weakened, thus deepening the sensory experience based on inner perception.

·Tian Longyu approaches an emotional connection to the land from an artist’s perspective. Taking oil paint as spiritual soil, he fills a well-designed frame with thick colors. The plow and rake, elements of prototypical memory, are tools for cultivating the land. When Tian created the series “The Scar”, he added something new: city skylines. Through raking, scraping, and removing paint, he transforms the language of the work, retaining its original function, while giving it the appearance of a lethal weapon. The furrows left in the “spiritual soil” offer an inverted image of the city under harsh light from directly above. That undulating shadow is like a painful curve growing from a white wall. In the exhibition, the shadows of continuous cities created by light and the undulating, brilliantly colored images generate an antagonism between two and three dimensions. These seemingly abstract images are unrelated to abstraction. Formally, the works are neither modeled like sculptures nor painted like paintings; the perfectly straight furrows are traces left by a passing rake. This act that simulates labor symbolizes sweat and the body. The removed color is forgotten, and what remains are the forms that result from adaptations made to the rake. The act of raking is a process of definition and abandonment. Just as construction and demolition coexist, it implies a dual expressive intention. The land lost to spiritual awareness is transformed into seemingly abstract images and uneven colors, which are scars and memories left by the repeated scratches of reality. Tian creates “crime scenes” for the wounds that urban overdevelopment and the capital and power that underpin it have caused to families’ lives and spiritual homes。

· Wang Xuan, born in 1979 in the province of Guangxi, China, creates in his small to medium-sized works his very own world of images. With great painterly precision, set-like individual elements are combined into still-life-like pictorial spaces, in which the painter fuses surrealistic images with objects from European and Asian art history to create imaginative works of art.

· Xiao Hong has expressed the spatial manifestation of historicity in his works, establishing the meeting point of multiple space-time continum on techniques of oil painting has progressed, from the qualities of the mediuum on the two dimensional expanse of a canvas. In this way, his techniques of oil painting has progressed, from an early prioritization of qualities of giving importance to the rendering of multiple space-time complexes.

· Xue Song, born in 1965 in Anhui, China, is one of the main representatives of Chinese contemporary pop art. Xue Song's initial artistic experiments began in the 1980s. At that time, China modern art movement was in full swing. Pop Art and other ideas challenging traditional aesthetics inspired many Chinese artists with China's Reform and Opening-up. At the same time, Xue Song began to try to create new artistic concepts, and always trying to find the uniqueness of his personal art. "Burning" and "Collage" have become Xue Song's unique artistic language, from which he creates artworks on different issues such as society, politics, tradition, humanity, fashion and aesthetics.