Language
Hi-Ne-Ni VII
Peng Wei - Stories Built on Paper, Ink Come Alive Three-Dimensionally
These works from Chinese artist Peng Wei's "I'm Here" series feel more like hearing stories than viewing paintings.
Crossing ink and literature, installation and sculpture, Peng contemporarily expands Oriental traditional painting spirit. While maintaining traditional ink on Korean paper method, she transformed this into three-dimensional objects filling space.
Traditional painting elements are delicately placed on mannequins—they feel like immovable bodies yet living landscapes. Ink bleeding on paper whispers like poetry lines.
"Hi-Ne-Ni" series means "I am here"—sculptural works with organic curves approaching like poetry. In "Persian Capriccio" series, Oriental ink combines with exotic imagination, exploring how civilizations sensuously intersect.
Her works include nameless beings like "Under the Tree," "Flying Birds," "Cicadas"—small yet containing condensed time and emotion. Natural waves breathe alive within ink's grain.
Peng expanded traditional materials beyond painting's flatness into installation realms, exploring Oriental painting sensibility, female identity, and emotional layers.
Her sculptural language opens "sensory places" where femininity, tradition, literature, and contemplation overlap, making ink painting not just drawing but writing and speaking with audiences.
Crossing ink and literature, installation and sculpture, Peng contemporarily expands Oriental traditional painting spirit. While maintaining traditional ink on Korean paper method, she transformed this into three-dimensional objects filling space.
Traditional painting elements are delicately placed on mannequins—they feel like immovable bodies yet living landscapes. Ink bleeding on paper whispers like poetry lines.
"Hi-Ne-Ni" series means "I am here"—sculptural works with organic curves approaching like poetry. In "Persian Capriccio" series, Oriental ink combines with exotic imagination, exploring how civilizations sensuously intersect.
Her works include nameless beings like "Under the Tree," "Flying Birds," "Cicadas"—small yet containing condensed time and emotion. Natural waves breathe alive within ink's grain.
Peng expanded traditional materials beyond painting's flatness into installation realms, exploring Oriental painting sensibility, female identity, and emotional layers.
Her sculptural language opens "sensory places" where femininity, tradition, literature, and contemplation overlap, making ink painting not just drawing but writing and speaking with audiences.