Fangyuan Gu (1994 in Leshan, Sichuan, China) lives and works mainly in Shanghai and Leshan. Her art practice focuses on easel painting, while also exploring the spiritual experiences and energy transmissions generated by the interplay of different media.

Her work is often associated with the notion of the "shamanic" — referring to a mode of working that connects the visible and the invisible. Through this spiritual dimension, the artist attempts to present the possibility of another kind of perception: leaving on the picture surface traces brought from nonlinear time — traces that can be shared and re-experienced. Throughout her artistic practice, individual experience constantly overlaps, fragments, and reassembles within shifting and interwoven spacetimes. She always uses the body as a medium to directly engage with the world and the environment. Those ambiguous, indeterminate experiences — suspended between existence and non-existence — are the very state of spatiotemporal overlap, and form a field in which the presence of the senses unfolds.

When the painting transforms an interwoven, unknown, indeterminate perspective into another kind of "reality", entering into dialogue with the known empirical world, can viewers thereby briefly withdraw from rigidified cognitive structures, and begin to become aware of how they are actually seeing?

古芳源，1994年生於四川樂山，中國。現主要生活工作於上海與樂山。她的藝術實踐以架上繪畫為主，同時，她還探索不同媒介的特性以及這些特性共同作用所帶來的靈性體驗與能量傳遞。

她的創作常與「巫性」關聯——指向一種連接可見與不可見的工作方式。藝術家試圖透過這種靈性維度，呈現另一種感知的可能性：把從非線性時間中帶出來的痕跡留在畫面上，可共享、被再體驗。在她的藝術實踐過程中，個體經驗在變換交錯的時空中發生重疊、破碎與重組，她總以身體直接接觸世界與環境發生連結。這些模糊、不確定、介於存在與不存在之間的經驗，是時空交疊本身的狀態，也是形成探索感官在場的場域。

當畫面將交錯、未知、不確定的視角轉化為另一種「現實」，與已知的經驗世界相觀照時，人們能否藉此短暫地從固化的認知形態中退出，開始覺察自己正在如何觀看。