“Four Seasons” by QU Fengguo stems from a sense of aesthetic judgment analogous to “mono- no-aware.” It is the unconscious capture of impermanence and ultimate emotions brought by the seasons as a natural kind. Seized with a sudden impulse and all the patience, the artist obtains extraordinarily deep insight and empathy into external objects that are changeable and unpredictable, as though the distance between persons and things is expanded into a fleeting moment.

“Four Seasons” could be dated back to 2005, focusing on the institution and condensation of the idea of time. The series interposes itself in the fleeting moments of the nature being naturalized. QU utilizes the quality of opposition and reflection concealed in painting to establish the assembly of the field of lines.

Abstraction is practiced as a habitus but not a scenario-based transcription in his composition. The paint is squeezed out of the tube and left on the canvas by lines and then shaved off by a ruler. To repeat such an act finally conforms to the fulfillment of the entire canvas in horizontal stripes. Different colors of paint get to blend with one another. Though in recent practice of this series, the superposition of division and the division of superposition functions as a structural element occupying the very center of the image. A number of geometric motifs emerge, but the core of QU’s creative language is the disappearance of space and spatiality.

曲丰国的“四季”系列始于一种与“物哀”同工的审美意识，是艺术家对作为自然物的季节所带来的无常感与极致情绪的不自觉捕捉，情不自禁地从变幻流转的外界事物中获得了幽深玄静的洞察与身体力行的共振，仿佛将人与物之间的距离扩张成转瞬的间期。

始于2005年的“四季”系列着力于时间的构成与压缩，对所谓“转瞬即逝”和“自然而然”进行干预，运用画面中隐藏的对立或倒影的质感，建立“线域”的集合。

抽象作为惯习得以出现，而非基于场景的摹本。颜料从吸管中被挤出，一条条直接留在画布上，然后被尺刮掉，如此重复直至整张画布被水平向的线条填满，不同的颜料也相互交融。然而画布中还存在着垂直或倾斜向的分割，似乎是为这项操练提供了一个截面，打破连贯而弥漫的“观看”本身，使得围绕其抽象绘画的“制作”与“接收”成为对方的镜像。至此，受到时间坐标支配的画面与其观看者之间的距离自觉解体。虽然在近阶段的“四季”中，分割的叠加与叠加的分割作为结构要素在画面中央占据了不少几何母题，但曲丰国创作语言的核心是空间与空间性的消失。