Guan Yinfu was born in Heilongjiang in 1975, graduated from the Central Academy of Drama, Theatre Arts department, Stage Design major in 2002, currently lives and works in Beijing.

As the important component in Guan Yinfu's artworks, color plays two roles: a mean by which to convey visual information and bearing witness to the power of material. Guan Yinfu works with both of these roles through color. In certain cases, he sets the color relations to show strong contrast to the base, in others, he shows the subtle variations within the same color spectrum as he plans the spatial order of these colors and places them in gradational order, or inverts the colors between surface / base. In these incidents, Guan Yinfu seems to have assumed the role of overviewing designer. At the same time, he has no choice but to follow the natural order of things in his work, where he mixes, pours, scrapes off those thick colors, and waits for them to congeal, set, crack, so they eventually become part of his order of colors.


The relationship between industrial pigments and modernist painting is like the relationship between film and film, while impasto and stacked pigments, like film montage, are the unique artistic style of this industrial age. A sense of volume, materiality - a certain industrial sublime.


In this sense, Guan Yinfu's paintings are essentially installations, pigments and pigments, pigments and substrates, works and spaces, works and works, in which a series of relationships are generated, amplified, and then deduced to the viewer. The installation means that the audience is also included in the production relationship, and it has become a factor and link within the art.


From an optical point of view, we are talking about the different wavelengths of light in the visible wavelength band of the human eye. The difference between colors depends on the wavelength, and the number of wavelengths in the visible light band can be infinite. Therefore, strictly speaking, color cannot be segmented, that is, cannot be symbolized.


The battle between sketch and color in the history of painting ended with the victory of color in modernism, which is the victory of the signifier layer and the victory of materiality. But it should be noted that the materiality of color is not the materiality of pigment. For color, pigment is just an unexpected existence, just like the face of a radio announcer in real life.