"To see a world in a flower, and a bodhi in a leaf." The tiny traces and grains of all the things in nature carry within themselves the seeds of aesthetics.

At the first glimpse, the works from Wang Qian and Shan Feiming seems to be describing the traces of things. In reality, they express the artists' different experiences and requests to the real world. The grains Wang Jian photographed are nature's creature left to mankind after evolution of trillions of years. Just as Wang Jian himself said, "they are actually the art works of time". The artist felt the pulse of life in the grains of the sections of the rocks corresponding with the soul of the artist in some desires. While the artist meditates and understands life through the rocks, the audience may feel the profound influence of oriental culture from him.

The rubber tree in Shan Feiming's photographs also grows in nature, but what it shows us are the traces of human cutting. These mottled marks are completely the outcome of human intervention to nature; they are predatory and are the result of the endless taking of mankind from nature. One can feel the strong influence of the economy to the living environment. Due to the artist's background of study in Germany, one can feel the description skills of Dusseldorf School of western typology in his works.

Through the works of the two outstanding "observers", while exclaiming the wonder of nature and regretting the human intervention, one can also feel the aesthetic discoveries in the details. 

Image: © Shan Feiming, 798 Photo Gallery