Born in the Xinjiang Uyghur Autonomous Region in 1961, Qin Feng is an iconoclastic artist who is actively involved in China's avant-garde art movement. Being an eclectic ink artist, Qin Feng is committed to integrating Eastern and Western styles.

Xinjiang, Berlin, Boston, and Beijing, places where the artist calls home, infused his artwork with a global perspective that led him to a bold and significant artistic path - extending the tradition of classical Chinese ink painting and calligraphy. From 1996 to 1999, Qin taught at the Berlin University of the Arts, where he further explored the possibility of the fusion of Western modernism and traditional Chinese ink.

He used tea and coffee, two different beverages from the East and the West, to render multiple layers on xuan paper, which serves as a metaphor of the merge between the two cultures. The artist uses ink as the medium and calligraphy as the form, and also adopts smooth yet dry brushstrokes, creating seemingly powerful traditional calligraphy that skillfully demonstrates the freedom and agility in abstract expressionism, resulting in ink pieces that connect the past and the present.

In the dynamic portrayal of West Wind/East Water, Qin simultaneously expresses the rhythm of leisure and the hysteria and explosiveness of ink brushstrokes, adding tension to the image while charging the work with contemporary vitality and poetic quality.

Qin Feng's work can be found in several important and prestigious museums and collections globally, including the British Museum, London; the Metropolitan Museum of Art, New York; The Getty Museum, USA; The Museum of Fine Art, Boston; the Guggenheim Museum, New York; and the Jerry Yang collection.

Qin Feng was born in Xinjiang and studied at the Shangdong Art Institute. In 1996 Qin moved to Germany as part of a cultural exchange programme. In 2007 he returned to Beijing and in 2008 he became a research associate at the Fairbank Center for Chinese Studies at Harvard University.

Qin Feng manifests his physical energy in his paintings through powerful and uninhibited brushstrokes. Some relate Qin's large scale formats to the expansiveness of the Xinjiang landscape where he grew up. In his paintings, Qin explores the concepts of and the interconnection between civilization and desire.

Ink, symbol and calligraphy remain key elements in Qin's art, in which he juggles his traditional Chinese upbringing and training, and his experience in America and Europe which introduced to him concepts such as abstract expressionism. Through the process of constructing characters and symbols, Qin embodies his masculinity, his spirit, and his understanding of human existence.