French-Chinese artist Feng Xiao-Min, born in Shanghai in 1959, presents his new exhibition “Sailing Through the Light” at Opera Gallery New York. The exhibition includes 26 paintings created between 2009 and 2025, inviting viewers on a journey through an imaginary world where sailing boats navigate a sea where the horizon blends with the sky. Feng’s artistic language merges Eastern philosophy with Western abstraction, manipulating acrylic paint as a calligrapher manipulates ink. Raised in a family of intellectuals, he studied Fine Arts in China before moving to France in 1988, where he attended the École Nationale Supérieure des Beaux-Arts in Paris, an institution where he was later invited to teach. With this exhibition, Feng has created a contemplative body of work that invites us to pause and find serenity in the quiet beauty of nature.
Painter Feng Xiao-Min in his studio, ph. Nicolas Brasseur, courtesy Opera Gallery New York
Filippo Monelli: In the paintings on show, and particularly in “Composition N°26.7.21,” you explore the theme of light as a guiding element. Could you explain this duality you perceive in light, as a representation of both hope and anxiety?
Feng Xiao-Min: Light, to me, is a deeply symbolic force — one that transcends simple visual beauty. It represents clarity, hope and guidance, but also the fragility of that clarity. In “Composition N°26.7.21”, light becomes almost a character in itself, illuminating paths forward while casting shadows behind. This duality reflects my own inner dialogue: the sense of hope that light brings, balanced against the quiet anxiety that nothing ever stays fully lit for long. In many ways, light reveals as much as it conceals..
Feng Xiao-Min, “Composition N°3.12.21”, 2021, acrylic on canvas, 51.2 x 76.8 in | 130 x 195
cm, courtesy Opera Gallery New York
In “Composition N°6.4.23” we see a play of warm colors and deep blues that blend as the sunset fades. How does your creative process begin when you decide to represent these imaginary landscapes, and what role does the aquatic element play in your compositions?
My creative process often begins with a fleeting impression: a moment of stillness in nature, a certain light reflecting on water, or even a memory that resurfaces unexpectedly. These landscapes are not literal places, but emotional geographies shaped by sensation and introspection. The aquatic element plays a vital role; water is one of the classical elements of the universe. Though it may seem gentle, it is in fact one of the most powerful forces. Moreover, water is one of the most essential elements for life. It also acts as a mirror, reflecting not only the outside world but our internal states. It’s where calm and chaos coexist, and I’m endlessly fascinated by that tension.
Feng Xiao-Min, “Composition N°10.12.24”, 2024, acrylic on canvas, 51.2 x 38.2 in | 130 x 97 cm, courtesy Opera Gallery New York
You manipulate acrylic paint as a calligrapher manipulates ink. How important is it for you to maintain this connection with the Chinese calligraphic tradition while creating works that dialogue with Western contemporary art?
This connection is central to my practice. The fluidity and rhythm of Chinese calligraphy have been part of my visual language since the beginning. It’s not just a technique, but a way of thinking, an embodiment of gesture, breath, and time. Chinese calligraphy helps in mastering brush strokes and pictorial space. As Shitao once said, painting and Chinese calligraphy are two branches growing from the same root. Integrating this tradition into the context of Western contemporary art allows me to bridge cultures and histories, creating a dialogue between spontaneity and structure, intuition and concept.
Feng Xiao-Min, “Composition N°16.11.24”, 2024, acrylic on canvas, 25.6 x 31.9 in | 65 x 81 cm, courtesy Opera Gallery New York
Your art has been influenced by masters such as Chu Teh-Chun, J.M.W. Turner, and Zao Wou-Ki. How has your artistic research evolved in recent years, and what directions are you interested in exploring in the near future?
Over the past few years, my research has moved more deeply into the emotional resonance of abstraction. While these masters remain strong influences, I’ve become increasingly interested in how light, space, and serenity can be conveyed through gesture and layering. I’ve also begun exploring more immersive formats – larger scales and multi-panel compositions – to expand the viewer’s experience. Moving forward, I aspire to keep seeking greater creative freedom and to uncover ever more new horizons.
Feng Xiao-Min, “Composition-N°18.1.25”, 2025, acrylic on canvas, 51.2 x 76.8 in | 130 x 195 cm, courtesy Opera Gallery New York
You once stated that you observe nature at different times of the day and use variations in color to express your sensations. How has your relationship with nature as a source of inspiration changed throughout your career?
Nature has always been a constant presence in my work, but the way I engage with it has matured. Early on, I was drawn to its visual drama—the boldness of color, the shift of weather. Over time, I’ve become more attuned to its subtleties: the quiet rhythm of the seasons, the texture of fog, the way twilight lingers. Nature now feels less like a reference point and more like a collaborator, an ever-changing entity that mirrors the complexity of human emotion. My goal is no longer to depict nature, but to evoke the experience of being within it.
Info:
Feng Xiao-Min. Sailing through the Light
22/04/2025 – 17/05/2025
Opera Gallery New York
791 Madison Ave, New York, NY 10065, Stati Uniti
www.operagallery.com
Art is made to disturb, science to reassure.
(Salvador Dalì)
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