In Kang Chunhui’s newest major work, her “hidden protagonist” is the towering Yuan Dynasty literati painter Huang Gongwang (1269-1354) and his iconic masterpiece Dwelling in the Fuchun Mountains. Unlike her homage to Boticelli which transcends form—flower and figure—and mythology—European and Chinese—Kang’s assault on the sacred ground of the Fuchun Mountains is pure transgression, albeit very soft in manner. Her approach is deeply empathetic: she seeks to understand what Huang Gongwang envisioned at 80 years old when he executed his masterwork perceiving in it a longing for an idealized place beyond this life’s reach. Following in the tradition of Dong Qichang (1555-1636), the late Ming Dynasty literati art theorist, calligrapher, and painter who suggested that artists journey to the locations of ancient masterworks not so much to directly engage with nature but, rather, to gain deeper insight into the mindset and inspiration of the old masters, Kang made a pilgrimage to the Fuchun Mountains in March, 2024. Walking around the entire Fuchun River and exploring the landscapes around Hangzhou and Wuxi, however, Kang discovers not Huang Gongwang’s inspiration but her own: “Sensing my surroundings deeply, it's as if every element in that place imparts its own unique essence onto me. Whether it's the rain and mist, the morning and evening light, or anything else, each contributes to this shared feeling.” (Excerpt from the introduction of the exhibition "Observing My Distant Self: Kang Chunhui")
