1970年生于内蒙古包头市

1992年毕业于内蒙古包头师范大学油画系

1996年清华美术学院装饰雕塑系

2005年毕业于中央美院雕塑系硕士研究生

艺术参展：
2005年3月中央美院雕塑系通道画廊《泥、人体、感觉》联展
2005年5月作品《朝圣∞》获中央美院第三届“学院之光”优秀作品奖
2005年6月中央美院雕塑系通道画廊《材料、意向》联展

2007年“2007中国雕塑开放展”《北京展览馆》

2007年第三届中国宋庄文化艺术节“艺术集市”《童子军系列》

2008年中国当代艺术文献展《歌华艺术馆》

2008年798红三房画廊主题《阵》展览

2008年北京鸿湾艺术馆《首届五四国际青年艺术节》邀请展

2008年798红T画廊联展

2008年北京桥艺术中心主题《力型》国际当代艺术邀请展

2008年北京何各庄一号地主题《热土》联展

2008年北京《UPDATING 超越自我》展览

目前作品被多家艺术机构收藏

Guo Qipeng’s series of ‘Boy Scout’ sculptures make up a series of children’s stories. These stories take us back to our childhood, to the very bottom of our recollection and, at the same time, are metaphors for children’s politics.

In today’s language of sculpture, how to construct new methods or forms of expression is the constant goal of the artist. It is popularly thought nowadays that art must try to break through the limitations of the medium into the realm of the public concept. For the artist, this is not just a challenge but an opportunity. For many years, Guo Qipeng thought about and experimented with different media; these experiments helped him to establish his foundation in the arts and are also the reason his ‘Boy Scout’ sculptures are such a success. Firstly, the artist exceeds the limitations of the language of sculpture; he does not simply remain in the realm of static representation, but changes sculpture into a type of effective narrative structure. This allows the sculpture to become a medium for the expression of desires and the recounting of a plot. This type of sculpture, unlike individual pieces, demands that one consider the work as a whole. The artist must also constantly keep in mind the piece as a whole during the creative process in order to exceed the limitations of the medium. In this piece, the artist brings out his thoughts on art along with his life memories in combination, striving to break through the conflict between form and content. He exerts himself in making the medium speak, and in making the art come alive. This is the greatest challenge for the artist, more often than not it determines the artist’s choices and, at the same time, the standpoint of the work. This time the artist seeks to establish his own art vocabulary, the inspiration is to create his own art language within contemporary art’s diversified structure.

So, when we look at the artist’s ‘Boy Scout’ sculptures, we do not see them one by one as scattered individuals, but rather we follow the work into the realm of narrative history. It is as if we can hear the clamour of the bugle calls and the rattle of the drums as the childish faces walk vigorously onwards. This is a conversation between history and reality. The artist uses three-dimensional figures to express a period of history and captures an existing myth of children’s politics. The children since they are our childhood are also the childhood of society, and the anticipation of childhood is also the anticipation of society. Finally, the ‘Boy Scouts’ are the reality of our recollections. Childhood is not a dream, but it is cloudy, ‘Boy Scouts’ not only conjures heavy historical recollections, it also points to the soul of dreams for the future. If we didn’t have the story of the boy scouts, there is much in the reality of our lives that we could not establish. The boy scouts have become society’s anticipation and model, they signify society’s political philosophy, to the extent that there is much of the Utopian vision in them. Therefore, society’s future ‘boy scouts’ become society’s foundation. With the choices we all make over the course of our lives, everyone has their own part of the ‘boy scout’ story. And everyone’s present thoughts are not without relation or responsibility towards children’s politics.

The ‘Boy Scout’ series of sculptures open the door to the heart and bring dust covered childhood memories back to life. And the distant song of the boy scout troupe reverberates in our ears and in our soul.