The Chinese painter Qiu Shihua in his light, cloudy-white painted landscapes, invokes apparently untouched nature in which only indications of paths, rivers or trees and structures of space such as the silhouettes of a chain of hills become painstakingly visible.
Elements of traditional Eastern landscape painting, such as the strong reduction in colour and in precise details, are combined with the early abstraction of western modernist movements.
Landscape no longer serves to represent real situations or the rational exploration of an illusionist picture plane, but becomes an occasion for a painterly treatment.
The undefined openness of the motif and of spaciousness, the interplay between full and empty, brings any orientation towards recognisability to naught.
The experience of placelessness unsettles one’s own perceptibility, while simultaneously the sense of sinking into an imaginary landscape becomes possible.
English and German text.