HAN Feng (b.1972) is a subtle painter and a quirky installation artist, now works and lives in Germany. His artworks explore the abstract structure of daily objects, as well as the progressive forces which is implicit inside the structure, processed with attraction, magnification, accumulation and transformation, etc. (‘One produced Two; Two produced Three; Three produced All Things’, quoted from Taoism classic "Tao Te Ching" ). Are artifacts increasingly biased from the biological and natural orbit? And how the planar works view and understand our world from multiple dimensions?
Each picture is a representation. They represent things: a ventilation tube, a staircases, a blinds, a ventilator, an airplane, a chimney, a bus… The things stand in isolation with the picture, detached from any context. These are unspectacular things, in unspectacular stages, and that is precisely why they become spectacular in the picture: they become noteworthy. Han Feng is not interested in the thing, the object as such, he is interested in the thing and the object in the picture and as a picture. The same thingness also characterizes the pictures as pictures, which are both things and signs, they are not frames, and they appear “unfinished”, emphasizing the fact that they are the result of a production process. They are mounted canvas which make the folds and the small sides on the massive wooden frame visible and capable of being experienced. The artist produces everything himself: handicraft. He chooses a canvas which knobbly structure emphasizes the materiality of the ground on which the lucid painting is layered. The tactility of such surfaces affection can immediately be felt. Together with the thingness of the picture it conveys a stability of the picture of the canvas, giving the impression that the pictures are lit from behind-an arrangement which Feng stages deliberately for some of his objects in space: objects with the effect of pictures that have entered space. (Jorg Huber)
Paintings and sculptural installations unseen, represented by photographs sent from a distance. Both recall the characteristic formalities of Westernized minimalism-conceptualism: monochromatic washes on white grounds, sometimes accented by restrained applications of color (light blue and yellow); rectangular supports tending towards square; extended horizontal geometric forms; and the presentation of industrially produced objects are ready-mades. Most of the paintings depict aspects of the connective machinery of contemporary urban life- the visually unremarkable outlets of air conditioning and heating systems, with their slats, cowls and partly obscured grilled- perhaps as a visual pun on works by the likes of Robert Ryman and Donald Judd. (Paul Gladston)
In 2008, he received the “Creative M50 Jury Award” and two years later HAN Feng won the first prize of “1st John Moores Painting Prize (China)”. Britain’s Saatchi Gallery and Japan’s Aichi Triennial both exhibited major works of HAN Feng in 2013. In 2012, HAN Feng had a solo exhibition at CCCA Manchester and in 2011 his works were shown at the 3rd Biennial at the End of the World in Ushuaia, Argentina as well as in MoCA and Around Space both in Shanghai. Recent exhibition include:The Poem Simply Rising, Wuxi Museum, Wuxi （2019）; Art Patrons, Qiao Space & Tank Shanghai Project Space, Shanghai (2018); Sense of Paper - Melting Point, L+ Space, Shanghai (2018); SOMEWHERE - HAN Feng Solo Exhibition, ShanghART Beijing, Beijing (2017); This Moment, Liu Haisu Art Museum, Shanghai (2017).