Objects in artist’s vision should be transformed into picture which has a corresponding relationship and the combination of colors and shapes, and this action needs an artist to do the "translation" work as a mediator. But the artist's work is not limited to such a "mediator" role, they are increasingly inclined to process the object more subjectively, to carrying a variety of spiritual implication, which is so called the role of "heart". In Chinese and western painting history, when artists are facing nature, there are always problems of relationship between the objects and the inner sense. In contemporary, the factors which can dominate artists has become more and more, all kinds of ideas, strong visual presentation and communication system lead many artists to turn down the opportunity to touch and experience nature, and be away from deeply moving when facing the nature, and the real state of freestyle and self-consistent artistic creation. Understand and in the face of the natural objects, are the artistic way which our three featured artists trying to restore, and their exhibitions are also trying to use a new awareness of experience to interweave and communicate between objects and inner sense.
The three artists’ cases present the landscape paintings’ different visions and mental appearances from individual orientations and regions. We hope their exhibitions could make us think about the long tradition of the relationship between nature and painting, and the real situation of here and now.
 
Looking Homeward - Landscape Oil Painting Series by Sun Changwu
Living and working in Northeastern China. Sun Changwu has rooted attachment for this land. He describes this fresh, original and vital traditional folk painting factor as the fresh, original and vitality of the countryside land by a style of some Chinese traditional and folk painting factors. As we know, countryside painting was popular in the late 70’s and attracted the plain, ordinary rural characters and scene.. It reflects our appeal to human nature. Nowadays the countryside has experienced tremendous changes and the problem arisen is more complex. Sun Changwu surely knows it well, the countryside in his painting are not intended to expose stark reality but to carrying the dream for questing simplicity. Looking Homeward, is incurring the memory of pure and fresh spiritual temperament which is rare in modern society.
 
Desolate Scene - Landscape Oil Painting Sereis by Luo Qi
Whether painting figures or landscape, Luo Qi’s works always show some feelings of quiet and desolate which are not following the fashion. He is very fond of sketching landscape, for him, it is a process of sort out his thoughts. So, his sketch is not to submit to objects, but relax thoroughly to explore the inner potential. However, understanding and in the face of the nature is not a superficial form, but the inducement to inspire this potential. He avoids all kinds of existing watch and expressing programs on purpose in order to find out the "atmosphere" and vitality of the most trivial things. Using cold and gray colors to portray weeds, flourishing but silent "Desolate Scene" is the most common scenery expression of Luo Qi. He is not intended to render some kind of desolate loneliness, but to highlight another kind of life beyond the complexity, which is very consistent with his emphasis on "independent consciousness and courage of discovery".
 
Night Road - Landscape Oil Painting Series by Wu Sibo
Wu Sibo has been painting the "scenery" around him with his unique gray color. Whether it is day or night, he is just like a sleepwalker at night. He portrays the scene in front of him so unmindful but quiet, there is no doubt that his "fixed color" is colored on all things in his paintings, but the brutal force that mixed with the original and the modern factors, as well as unfettered and despairing mood reveal the reality of "heavy", which could resonate with audience. In his paintings, we often can see cloud, water, smoke, fire, these are belong to the ever changing virtual scene, which shaped them deeply quiet and calm, glittering a strange light color. Due to his inherent literary potential, he also inadvertently injects some kind of narrative factors and poetic feeling into his painting, that poetry is not elegant at all, but as frosty as the still water.