The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

The sound wave traditional Chinese painting series exhibited this time marks Du Kun's bold shift towards music, which is surprising. These works are different from previous series in both form and theme. Although they resemble traditional Chinese ink paintings, the shapes of "landscapes" here are defined by the wavelength data of music, with rugged mountain peaks representing the peaks of sound waves. The paintings presented in long scrolls not only express the expansion of space but also have the characteristics of time flow. Large-scale landscape paintings depict the changes of things with the seasons of spring, summer, autumn and winter, or with the progress of the story, and the scenes also change accordingly. Therefore, music, as an art of time, is extremely naturally visualized by artists through long scroll creation. Careful appreciation of the exhibited works reveals some details, such as vertically divided mountains, interspersed white clouds, the reflection of trees on the lake... These elements together create a rhythmic and recurring rhythm, forming a work completely different from traditional Chinese paintings. When explaining these works, Du Kun mentioned the dramatic conflict between "noise" and "stillness", as well as various contradictions established by both sides, which are integrated after collision. This is another group of paintings with the central theme of sublating tradition and transcending opposition. "Painting and music are like two people from different countries speaking different languages, who have found a special way to communicate," he said in the above interview. From the perspective of painting, this series of works can be said to combine the visual concepts of color and shape with the time concepts of music and performance. The form of expression produced by combining all these elements is no longer(pure) painting or music. It is a hymn to the original reality, that is, the world before being instilled with various knowledges. They are the artist's proof of his own existence and a way to depict the self. It can be seen that his worldview has gradually changed from a destructive, apocalyptic image to a constructive and positive vision. In his early cityscapes, the sky was mostly gray and eschatological, while in the "Temple Portrait" series, it is a clear blue sky. In a 2016 interview, he said, "Putting opposing sides on an equal stage, making them have a dialogue, and expressing it in a poetic way... Artists should not only raise questions but also dramatize them." Starting from depicting the unintelligible mystery and tragedy of the world with an intuition far beyond logic, Du Kun created a batch of surrealist paintings like messages that gods or supernatural forces want to convey through his hands. However, now he is committed to reconstructing his own world. After all, today he stands on the side of humanity, observing the future created by human activities. It seems that after the end of the world, a brand-new world is emerging here.

What enchanting alchemy unfolds when jewelry meets clay art? In collaboration with MAISONALT, the fantastical 「Hua Yao 」themed window display debuts at Beijing Yintai Centre mall.

Tell the mental journey from loneliness to calmness

ArtDepot Gallery is honored to collaborate with Suzhou Museum to present I Hope—the first museum exhibition of its exclusively represented artist Zhang Zhanzhan, running from April 1 to June 12, 2025. The exhibition will showcase 23 easel paintings and 11 sculptural installations created by the artist between 2024 and 2025.

Installation Video Documentation of I Hope—The First Museum Exhibition of ArtDepot Gallery’s Exclusively Represented Artist Zhang Zhanzhan

On 3.16, 2024, the solo exhibition "You're Always On My Mind" by Zhang Zhanzhan, the exclusive agent of the ArtDepot, was successfully opened in B06 space of Beijing 798 Art District.

ArtDepot is pleased to announce the successful presentation of its 15th anniversary special exhibition in Beijing 798 Space on November 23, 2024.

The first public art project of "I Miss You" by Zhang Zhanzhan, in collaboration with Guomao Mall and ArtDepot, also warmly started this winter.

ArtDepot is delighted to be invited to collaborate with BUTONG Art Town, From July 26 to October 31, 2024, Zhang Zhanzhan's solo exhibition "You're Always on My Mind" will be held at the BUTONG CIRCLE Center of Contemporary Art in Beidaihe.

At the beginning of the New Year 2024, everything is renewed, and ArtDepot with artists Yang Mian, Florentijn Hofman, Zhang Zhanzhan and Kong Lingxin&Joan Farrenkopf officially unveiled a large-scale public art project in POLPAS.

Lin Tianlu Talks about His Creative Ideas

On October 12, 2021, ArtDepot Center was invited by China Merchants Shekou to be the art consultant for Chengdu Cube project and worked with Hofman to create the latest urban public artworks for Chengdu Cube.

Hou Jianan Talks about Artistic Creation

On April 3rd,2021, the artist Zhang Zhanzhan will bring his first large-scale exhibition of art gallery level to Shanghai Powerlong Art Museum

Hoffman creates works of art that can be read as three-dimensional prose."Shiny Squirrel" on the other hand, is a work of nonfiction prose written from a personal perspective.