In the era of this story, things are still messy, and the world is still a chaos. Vanities are not uncommon, as is the name, thought, form, and system. On the other hand, there exist many things, phenomena and people in the world that are neither named nor featured. The consciousness of survival, the stubborn pursuit of personal influence, and the ideas that contradict everything that exist seem to have popularized in this era. Many are still idling abou–owing to poverty or ignorance, or the fact that they are self-contented–therefore a considerable part of the will dissipated in the air. In turn, it is possible that in a certain place, this thin consciousness is concentrated and condensed into real things, just like a tiny object filled with a majestic palace. This object, by chance or by choice, encounters a vacant name and surname (such vacant name is common), encounters a task with clear responsibilities, and, in particular, encounters an empty body—since there is no flesh, an existing person is in danger of disappearing with the passage of time. You can imagine how a nonexistent person will be. (Adapted from The Nonexistent Knight by Calvino)

There appeared the artist.

The artist is used to make the moon, to give you a little light at night, then to tell you it’s time to cool down. That reminds me of a saying from people in the African desert, “slow down, wait for your soul.” (Congcong Notes 2011.8.20)

Antenna Space is honored to launch Congcong’s solo exhibition “Palace”, where the space has been reconstructed and divided into the two parts with a large disparity in volume, and Congcong’s recent new works and manuscripts will be exhibited there. Just as we are searching a palace in the “Palace”, who is Congcong and what makes Congcong? These will also be searched–the scene we first met her. The paintings of Congcong never have a quotation or dependence; she will expatiate every detail for you.

In a word, your heart is to be embodied in the image. At that time, others will see the beauty in your heart. Other than that, I’m afraid it’s not that easy! Your heart may discover the objects of beauty (life, society, nature). This “beauty” to you is an objective existence, not subject to your will. (You can only direct your eyes to see her, or not to see her, but not to change her. You can train your eyes to know her, but you cannot shake her. The great art of Greece does didn’t lose any glamour and glory in the Middle Age.) (Where Does Beauty Come from? by Zong Baihua, 1957)

What people draw is related to their own thoughts. This kind of thought may be beyond painting itself. That is a clearness that transcends all concepts. All is about focusing on what you paint, that’s it.
Take a piece of green grass for instance, some places are full of vitality, others with soil exposed, however, it is the grass itself that enters into your eyes even at one glance. Looking at the parts, you judge the perfection and imperfections. Did you see the solid soil under the grass, and the endless dark sky above you? It has nothing to do with perfection, what matters is the truth. After all, what you do and yourself are insignificant. Giacometti’s portrait is more like the grass metaphor. The mud, as thin as that in a swallow’s beak, is just like Cong’s painting, for the delicate craftiness of each placement for nest-building. (Congcong Notes 2011.8.18)