Guo concentrates on landscapes, a subject matter as old and venerated in China as the substance—ink—with which he executes his compositions. In traditional landscape paintings, artists would offer viewers subtle points of entry into the scene. For example, roads winding up craggy mountains would begin at the bottom edge of the paper, indicating a point of passage; or, if a lake happened to fill the foreground, a sliver of dry land or perhaps a tiny boat would be somewhere nearby. The more eccentric or rebellious painters would remove these links between the world outside their paintings and the ones they conjured within. But you might be hard pressed to find someone willing to enter these artists’ strange visions of twisting pines, massive mountain peaks, and sheer, craggy cliffs. The landscapes of Guo sit somewhere in between those poles.