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Xiong Yanjun’s recent work has not only deliberately opened up to humble, cheap materials, but also to his surroundings and to the stretch of time. Through splicing, inlaying, adhesion and penetration, Xiong Yanjun fuses various materials together to form an "organic" integrated composition. Genetically, they almost erase the distinction between painting, sculpture and installation.

 

Xiong Yanjun feels like a craftsman making fake cultural relics. Although the forms of the products are different from the cultural relics, they have some similar logic. It became increasingly clear that Xiong Yanjun was always looking for "conflict" before. It was spatial to try to build an unified framework in the relationship of opposites and juxtapositions. What the artist is doing now is integration, giving up the creation of equality, conflict and contrast, and pursuing compliance with nature, allowing thoughts, emotions, materials and behaviors to take place in a relatively free and unstructured time, and precipitating something similar to "crystallization". Things infiltrate each other, including the variables of time. The temperament of the work also changed. Contrary to what he had done before, Xiong Yanjun tried to cover something again, to cover up and conceal, to make the work chaotic again, and at the same time to have face and inside, in an attempt to evoke some missing meaning.

 

Xiong Yanjun was born in China in 1977. He graduated from Anhui Normal University in Hehei with a B.A. in 2001; and from The Institute of Fine Art, Nanjing University with an M.F.A. in 2008. Currently, he lives and works in Wuhu, China.