鑄造藝術館榮幸地持續推薦具備本土語言特徵的抽象藝術家。瞿倩梅旅法多年，在巴黎深居簡出，進行20多年的繪畫創作，以巴黎的藝術氛圍滋養內心的創作激情，以執著的藝術追求歷練筆下的藝術作品，感悟中西文化的異同，體味其中的根基所在，從而把兩種世界中的藝術精華凝練在作品中，創作出具備東方哲學思考的大抽象繪畫作品。 瞿倩梅早期在家鄉江浙一帶從事中國畫創作，那裡靈秀的山水土壤滋養了她的藝術感受力，催生了她類似傳統文人士大夫那種留戀山川、悟對神通的感知力與抽象認識自然的性情。由此， 她的創作自然而然地走向平面、簡率與抽象寫意。
　　 作為一位女性畫家，她並不淺淺地留守於遊山樂水的閒暇情結中。當中國1980年代中期的中國藝術界正在發生翻天覆地地巨變時，她沒有局限在“85新潮”藝術運動的狂熱激情中，而是抱著出國開闊眼界的想法，踏上旅法學藝的漫漫長路，這個選擇增高了她的見地與視野。在巴黎，西方藝術的真實面貌可以盡收眼底，然而，中國的抽象藝術與西方本土的架上抽象藝術究竟有什麼本質差異？在參觀塔皮埃斯（Antonio Tapies，1923生於西班牙巴塞羅那，是當今西方畫家裡最具有東方哲學思想的繪畫大師之一）的繪畫展覽之後，瞿倩梅更加深刻地反思了抽象藝術的去向問題。她逐漸放下國畫的毛筆，在亞麻布上開拓獨立的藝術空間。
　　她開始執著於對材質、媒介的研究，而後又從媒介本身深入對繪畫形式的探索。但是，不同於國內80、90年代的“前衛”藝術家們的探索，瞿倩梅在法國安靜地解決方寸畫布與精神自由抒寫的二者關係；探索抽象繪畫作為一個獨立而悠久的形式其存在的意義和創新的問題。從這個層面上說，她的繪畫是思考型的、直指精神訴求的純粹抽象繪畫。然而，在她的抽象藝術中，蘊含著不能祛除的“東方哲學”意識。多年旅居法國的生活不能改變其民族思維習慣——心懷造化、澄懷味象、用繪畫抒寫心意是她 一直秉持的東西。因此，瞿倩梅的作品即使在西方創作體系內遊走，也始終彰顯著東方藝術博大的胸懷與空靈變換的色彩。
　　在她的畫面中，特殊材料的鋪陳以及不規則的符號與隱蔽的形象都喚起觀者對作品後面的邏輯與觀念的好奇。撲面而來的材料厚度強化了你思考的動力。就好像你面對這個作品的時候，想像力立刻被激發出來進而去探索平日忽略的意識角落。這個讀畫的過程更像是一種“自我發掘”，而不是簡單的欣賞——通過她繪畫材料中的“物質”提示進入自己的潛意識領域進行感性與理性的對話——這便是中國古代繪畫者的終極目的，況味抒懷、自然與內心融為一體。
　　瞿倩梅的繪畫正是以這樣飽滿的激情與平和的心境與感受、去創作當下的大寫意抽象繪畫，這是當下人們共同需要的心理形態。

　　Found Art Museum is honored to continually recommend abstract artists who are provided with local linguistic features. Qu Qianmei has lived in France for years. While she lived in Paris, she was reclusive to pursue artistic creation in painting for more than twenty years with the artistic atmosphere in Paris nourishing inner creative passion and persistent artistic pursuit toughening her works. She experiences the similarities and differences between Chinese and Western cultures to taste their foundations. Thereby artistic essences lie in these two kinds of worlds are condensed in her huge abstract paintings which possess Eastern philosophy.
　　During her earlier stage of career, Qu Qianmei has devoted to Chinese paintings at her hometown among the area of Jiangsu and Zhejiang provinces, where delicately beautiful landscapes and soil nourished her artistic sensibility and gave birth to her temperament like traditional literati or scholar-bureacrats who linger about mountains and rivers while possessing perception of the supernatural as well as abstract understanding of the nature. As a result, her creations are naturally inclined to be plane, simple and abstract freehand works.
　　As a female artist in painting, she does not stay superficially in the leisurely complex of hiking tour. When Chinese artistic circle was undergoing radical changes in the mid-1980s, she was not limited in the fanatical passion of “85 New Wave” art movement but travelled to France for learning arts with the idea of holding broaden horizons abroad. This choice has increased her insight and vision. In Paris, the panoramic view on realistic features of Western art could be gotten, however, what’s on earth the essential difference between the Chinese abstract art and Western local abstract art on shelf? After she has visited the exhibition of Tapies (Born in 1923 in Barcelona, Spain, Antonio Tapies is one of western masters in painting who are provided with oriental philosophy.), Qu Qianmei more profoundly reflects on the directions of abstract art. She gradually puts down the brushes of traditional Chinese paintings while turns to explore her independent art space on linen.
　　She begins to cling to studies on materials and media and then continues her in-depth exploration in forms of painting through media itself. However, quite different from explorations which pursued by domestic “avant garde” artists who were born in 1980s and 1990s, Qu Qianmei quietly solved the relationship between linen and depiction of spiritual freedom in France; she also explored abstract paintings’ meaning of existence and its innovation as an independent long-standing form. From this perspective, her paintings are elaborative absolutely abstract paintings which direct to spiritual demands.
　　Nevertheless, her abstract art contains unabated consciousness of “Oriental philosophy”. Years of life in France could not change her national habit of thinking—fortunes in her heart, mental realm and expression of intentions with paintings have been something upheld by her all the time. Therefore, even Qu Qianmei’s works wander among western systems of creation they still reveal profound bosom and ethereal changing colors of the Oriental Art.
　　In the general appearances of her paintings, the expatiation of special materials, irregular symbols and hidden figures all arouse audience’s curiosity for the logics and conception behind the works. Thickness of the materials directly reinforces your thinking power. Just as you face this work, your imagination is immediately inspired to explore sense corners usually neglected. This process of comprehension is more like a kind of “self-discover” rather than simple appreciation—by the “material” in her painting materials it prompt access to their subconscious mind for emotional and rational dialogue—this is the ultimate goal of Chinese ancient artists in paintings who combine nature and heart to be sensitive to the circumstances and express feelings.
　　Full of enthusiasm as well as in peaceful mood and experience which is the psychological form of common needs nowadays, Qu Qianmei’s works are created as abstract works of tremendous freehand.