Zhang Qiongfei, raised by her grandmother in the Yunnan mountains, began her art career in China in the late 1990s, during a period when new passions were igniting for art.

After graduating from Yunnan University of Fine Arts in 1996, Zhang Qiongfei plunged into the art scene and contributed to a dynamic era of Chinese contemporary art.

Her work quickly made a deep impression for its incisive style and keen sense of observation. For 20 years, Zhang Qiongfei has relentlessly used the language of expressionism to convey her vision of the world, the self, and the body, not to mention her perspective on everyday objects and the living space.

Her graphic universe is both sensitive and fragmented. Her paintings are not mere naturalistic representations. They have been chosen to express the artist’s attitudes and opinions, as well as her concerns about the state of the world and her genuine impressions of it. They continually evoke her doubts and reflections.

Painting to reveal.

“Exodus and exile, this is Fei’s work, calling for a deeper understanding of the nature of her visionary spirit, the peril of the mutable and immutable, through an analysis of the advent of the end. No rivalry with life, no mourning, just the end of an era and a living world. According to her rigor, every day is a day for art, paintings, sculptures, ink paintings, cut papers. The words will always be blurry, but the precise effect is complex. She first analyzes her subject from photos, models, or objects. And in accordance with her image of humanity, it leads to an apocalyptic procession. Fei was born from a criticism: ‘It will never be a boy!’ But the power of women is not to seize power but simply to render a comprehensive justice to life. This is the definition of Fei’s work.”

(Excerpts from a text by Francky Criquet)