We met Caoyun, in the suburbs of Beijing. In her own studio, she presented us her various creations.
Born in Hunan province, she spent her childhood in the countryside. Helping her grandfather to make the “paper work” which was used on funeral was the pioneer folk sculpture she had made. She automatically felt in her world creating with her hands, which became her way of expression. Because her father was carpenter, she could use his tools secretly to make some wooden toys !
After college, she decided to integrate the Academy of Art and Design in Tsinghua University (Beijing) and specialized herself in sculpture. Her first sculptures of human bodies were made with plastic fiber glass.
Those representations were extremely realistic, sometimes humorous, sometimes more serious as her creation below to highlight environmental crisis.
After graduation, her style evolved, and she focalized on other materials as bronze or ceramics. Her rebel instinct became more peaceful. Daoism philosophy inspires the following series which rest on the balance principle. To be balanced, you have to push and attract the universe at the same time, as the hands of her characters are doing. You have to consider the emptiness and the fullness at the same time, which is reminded by the hole in her sculpture. A quietude feeling emerges from those characters.
Later, in her pottery series, she created some sensual sculptures based on mother and child bodies. Caoyun insists of the fact that it is always on the confusion that she found what she is looking for. Her feminine characters may represent a quest of herself. Like a story, she recounts her own evolution from childhood to woman state.
Puzzlement II (85*53*35)
In her very last works, she focused on the bronze materials, but covered her sculpture with different colors. Her human model are women of this century. They look self-confident, assuming their identity. Curiously, the tittle of this sculpture is “Lost”, as if the artist was looking for herself through her sculpture, looking for which woman she is going to become.
Lost II (95*65*35)
Finally, in her horse series, she creates static animals which seem helpless. A lot of artists create horses which are originate from running, leaping, or even whinny. But Caoyun’s horses are different and stand up straightly. Their curves are soft and, quoted from Chinese galleries : “it shows the beauty of eastern modesty”.
Gray Shadow (100*100*37)
Caoyun’s sculpture is always like a poem at the scene. It tells about a story based on the language of visibility and feeling. Her work of sculpture not only mirrors the accuracy of real sculpture language but also makes these animal sculptures be a lonely and comfortable condition throughout the detail of gesture, expression in its eye’s, and hue.