Suspending

The word Suspending originates from a near-drowning experience in my childhood—a state of being caught in between, unable to rise, unable to sink, drifting on the edge of death, where fear vanishes and consciousness fades into stillness.

In this context, Suspending is not only the title of a series of works, but also a defining phase in my artistic life. It marks a substantial breakthrough following over a decade of artistic exploration and stagnation. Through years of struggle in that suspended state, I gradually learned to accept—even embrace—it as a condition of being. From this acceptance emerged a vision of metaphysical beauty that resonated deeply with my inner world—one that had not yet been consciously realized in my earlier I Ching series.

I vividly remember the moment I stood silently in front of the first painting from my Untitled Memory series, tears falling quietly as I whispered to myself, I’ve found it.

The outcomes of this phase were rich and transformative:

A, The Poem Series – A group of sculptures developed over six years. It served as both the practical realization of my graduate thesis “On the Taoist Manifestation in Sculpture” and a reflection on humanity’s condition of enslavement. More personally, it completed a process of psychological healing—perhaps the most profound of my life.

B, The completion of the Untitled Memory and Suspending painting series – These works established the metaphysical core of my abstract painting practice, giving form to an inward, intuitive truth.

C, Theoretical and written production – This period also yielded a body of critical writing, including:
“The Inner Logic of Abstract Art: A Convergence of Art History and Philosophy"

“Minimalism Is Not Abstraction, Nor Is It Cold,”
“Void Wanders in Void, Abundance Disappears in Abundance: Transcending the Dilemma of Counterpoint,

“A Conversation on Wu Guanzhong’s Art: Luo Yi and Jia Fangzhou, 2010.”

Here focuses on outcome B...

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Experience: Suspending 2015

Critical Note

Suspending: The Space Between

Suspending marks a pivotal shift in the artist’s journey, bridging her early abstraction and metaphysical inquiry. Rooted in a childhood memory of near-drowning, the series evokes a state of suspension: caught between rising and sinking, consciousness adrift, fear dissolved. This unresolved mode of being gradually formed the existential core underlying much of her later work.

After more than a decade of artistic searching, Suspending became a moment of genuine breakthrough. Through its resonances with metaphysical philosophy, the artist began actively pursuing an image-language capable of capturing the “absolute spirit.” Her earlier experiments had sought a balance between spontaneity and control; this series marked a turn toward a more purified exploration of spiritual form. Together with Untitled Memory, these works establish a concentrated and tension-filled visual language—one deeply grounded in lived experience yet aimed toward the transcendent.

As the origin point of this metaphysical turn, Suspending both crystallizes the accumulations of prior exploration and inaugurates the overarching spiritual trajectory of her later works. It laid a foundational cornerstone for what would become the artist’s distinct theoretical system of abstraction.