Huajin Qiu | ArtGallery.co.uk
Peter Q , also known as Huajin Qiu, initially established himself on the British Art scene in the 2000s. He starts practising Chinese Calligraphy art when he was 8 years old under the guidance of two folk artists. In his school time in China and England, he realized that art is a part of his life and for his entire lifetime on this planet, his job is to create a culture of his own. He didn’t attend art school but took part in the creative work in the art studios throughout his school time, where he painted and drew for the school art projects. He decided to become an artist when he curated an exhibition in Manchester in 2008. During 2008 and 2012, his fascination lies with fusing the elements of Chinese calligraphy, the Abstract and Post-impressionism, exploring the idea to invent a new art with the analogy between the “Western Art” and the “Oriental Art”. He has created a new painting approach called ‘Art-body Autopsy’ in which Chinese Calligraphic Characters are painted in strong black acrylic as a structural foundation for his paintings. He defines this as the ‘Bone and Soul’ of the artwork body. Carefully composited colours fill the gaps between the characters and strokes of the characters, whilst diverse stroke techniques are used to complete the rest of the painting. He describes the colours composited in this step as the ‘Flesh and Skin’ of the artwork body. His paintings talk, move, think and act. Some are filled with strokes that can be linked together and form words, other are made of rhythms and beats which are, of course, transformed into colour filled figures. He painted using a somewhat surprising variety of tools, such as kitchen utensils, gloves, or pieces of wood, etc. The collection of his works during this period of time is a reflection of his optimistic passion toward life and the society. His latest works, exhibited in the 798 Art Zone in Beijing, continue in the vein of this ‘Art-body Autopsy’ methodology, creating a wild fire that burns away precious heritage sites and beautiful landscapes to make a ‘deadly beautiful’ scene. He fuels the flames with oracle Chinese characters and freezes the fire at the very moment when all these beautiful places are in the process of being burnt down. The Deadly Beautiful fire collection the artist has been completing is to push forward a series of controversial questions for the public. For instance, who is the arsonist in his painting? And why to create such tragic events while it usually takes the viewers’ attention with the vivid post-impressionism style? The similarity of these paintings sees the beautiful, peaceful and exuberant scenery with a certain subjects (such as cottage, bridge, ferry, etc.) of unspoken stories in a burning flame. Conflict, tragedy, loss, sorrow, or shock are there for the public to feel. On contrary against the artist earlier works, which are in the genre of romantic comedy, this collection promotes the philosophy of co-existing Yin and Yang-- the tragic fire (Yin) and the fabulous scenery (Yang), as well as a vision of bringing people together to simply understand and appreciate the truths and differences while finding the connection of one another. The UK (Lancashire) media appreciated his art, describing it as ‘Art of Gold’. His artworks have become highly sought after in UK, China and US, doubling in value over the past year. Peter Q, born in 1984, is now based in Beijing (China) and Preston (UK).