From mastery to presence. From precision to pulse.
Fangyou Belleli
Fangyou Belleli is a Paris-based painter whose work captures the immediacy of human presence through large-scale portraits and nude studies, painted live in 5, 10, or 20 minutes. Her medium—oil on translucent tracing paper—is as ephemeral as the moments she paints: luminous, fragile, and alive. These are not traditional portraits, but energetic transmissions—each one carrying a frequency that invites the viewer into memory, emotion, and deep presence.
Born in 1971 in Shenyang, China, Belleli’s artistic journey is inseparable from personal metamorphosis. A prodigious, self-taught child, she mastered charcoal, Chinese ink, pastel, watercolor, acrylic, and oil with uncanny precision—winning national and provincial prizes throughout her youth. Yet the path of an artist was discouraged. “I was allowed to win. Not to become.”
She went on to build a 25-year international career in business and finance across Europe, Asia, and the U.S. But in 2020, during the global lockdown, painting returned—not as a pastime, but as a lifeline. She launched an online gallery, entered Beaux-Arts de Paris through the NABA program, and began to move beyond the confines of representation—developing a radical, time-sensitive painting practice rooted in resonance, intuition, and transmission.
The deepest transformation of her life began in December 2022, when her father fell gravely ill. She returned to Shenyang, her birthplace, and entered a suspended time—living beside him in hospitals, intensive care units, and long nights of breath-to-breath witnessing.
Over more than 700 days of devotion, she was undone—and remade. His unconditional love—offered not in words, but in presence—became the invisible balm that healed what no medicine could. Her emotional fractures softened. Her chronic illnesses vanished. Her resistance to her homeland dissolved. In caring for him, she reconciled with China, with her body, and with a childhood marked by violence and unspoken wounds.
When he passed, it was not an ending—but a return.
She came back to Paris whole. Not to resume—but to begin.
And she began to paint—not again, but truly—for the first time.
The Language of Her Painting:
Mastery in Motion
What astonishes most—even before the emotional frequency of her work is felt—is the precision. Belleli paints at a monumental scale—portraits and nudes often two meters high—executed entirely live, in minutes, without correction. This speed is not spectacle, but truth. Time becomes a dissolving membrane. To hesitate is to lose the flicker of presence, the breath of the living model.
Her technique does not come from years of formal training, but from a gift that endured in silence. For decades, she did not paint. Even as a child, she was rarely allowed to practice—only to perform. Her talent survived without repetition, fed by life itself. Observation, longing, memory, pain, and wonder—all became pigment stored in the soul. And when she finally returned to the brush, it moved with the fluency of something remembered. Her gestures are instinctive, assured—carrying not rehearsal, but recognition.
Beneath her brush, light emerges—not as effect, but as presence. It is this light—rare, unforced, and tender—that gives her figures their quiet, magnetic life.
She does not paint what she sees. She paints what trembles just beneath.
Rather than working on canvas or within the confines of framing, she paints on translucent tracing paper and presents her works suspended in space—like veils, thresholds, or breathing curtains. Light passes through. The reverse side is revealed. Each piece transforms with the viewer’s movement, the room’s illumination, or the colour of the backdrop. Her installations invite not passive looking, but somatic perception. What is seen is never fixed. Presence lingers. Emotion echoes. And as the brushstroke fades, so too does certainty.
From art to data
Gesture, Time, and Dematerialisation
Belleli’s work begins with a question that cannot be answered. Not with logic. Not with theory. But perhaps—through gesture.
Her painting process often lasts only minutes. And yet, in those brief instants, something opens. Time shifts. A sacred space emerges where linear time vanishes. She enters a field that cannot be measured.
This experience is shaped by the ancient Greek triad of time:
- Chronos – linear, measurable time
- Kairos – the opportune, inner moment
- Aïôn – cyclical, cosmic, omnipresent time
What begins in Chronos—the structured flow of action—melts into Kairos, the felt moment of flow. As she paints, time folds inward. The gesture emerges from a space beyond thought: fluid, present, whole. At times, she senses something deeper still—Aïôn, where the eternal pulses quietly through the now.
She does not claim to understand this. Only to recognize it when it arrives. But as soon as the gesture completes, she must return—to Chronos. To document. To title. To post. Society demands the dematerialisation of the work: its translation into image, reel, caption, archive.
The sacred becomes data.
The moment becomes content.
This paradox—between timeless presence and digital fragmentation—is at the heart of her inquiry. It does not discourage her. It simply reveals what is being asked of artists today: to walk between the invisible and the algorithmic. To return, again and again, from Aïôn to Chronos—with grace.
She has lived this time-consciousness through her body. In archery: the arrow released before thought. In fencing: the strike landing before perception. In painting: the hand moving without the self.
This rhythm echoes the Japanese aesthetic principle of Jo-ha-kyū (序破急), a form of temporal awareness:
- Jo: the slow unfolding
- Ha: the rupture, the rising tension
- Kyū: the release, the culmination
This rhythm is not only in her work—it is in her breath, her gaze, her being. Whether it is quantum, energetic, or unnamed, she does not know. And perhaps knowing is not the point.
“Being present is being eternal. The eternal lives now.”
She paints to meet that presence.
Often, she receives forms—symbols, sigils, talismans—that seem to arrive from elsewhere. These are not inventions. They feel like transmissions. As if the invisible chooses a line, a curve, a stroke through her hand. She draws not to design, but to reveal. What emerges is a visual field—sometimes simple, sometimes layered—that vibrates with something beyond language. A resonance. A coherence.
She does not seek perfection. Nor permanence. A painting may fail. A drawing may dissolve. But what matters is the doing—in the now. It is not about arriving. It is about meeting.
Her gestures are not performed. They are offered.
Each work is a question. A mirror. A brief embodiment of frequency.
Whether painting live figures, channeling sacred symbols, or creating energetic talismans, Belleli’s practice is unified by one intention: to transmit truth through vibration. There may be no conclusion. No final answer.
And perhaps—that is the point.
The journey
Quantum Field Activation through Art
In parallel with her painting, Belleli is developing a body of work dedicated to the activation of consciousness through art. Rooted in her own lived transformation and inspired by the spiritual teachings of Dr. David R. Hawkins, this work is not about performance—it is about presence. It invites the individual to meet themselves, through the creative act, as a conscious being in motion.
She guides participants to explore inner awareness through breath, symbol, rhythm, and gesture—awakening parts of the self that are often buried beneath speed, expectation, or survival. The brush becomes a tool not only for expression, but for integration. The gesture becomes a mirror. In this space, healing is not imposed—it arises.
This is not new. It is ancient. Belleli reconnects with a timeless lineage in which art was used to open portals, summon life force, and bring coherence between the human and the invisible. In early societies, cave painters painted not to depict, but to call—to call animals, to call spirit, to call presence. Ritual was survival. Art was communion. Creation was prayer.
Today, though the forms have changed, the need remains. Even in places of comfort, suffering persists—masked by productivity, performance, or pressure to achieve. Through her Quantum Field Activation Art Class, offered both online and in her Saint-Germain-des-Prés studio, Belleli holds space for individuals to reattune to their essence and align with the greater field of life.
This is not about escaping the world. It is about reentering it—with truth, clarity, and vibrational coherence. Her method bridges art and awakening, personal insight and planetary resonance. As each individual reconnects with their own presence, they participate in the elevation of collective consciousness. This is not mystical ideology—it is experiential practice. And it begins, simply, with a brushstroke.
Beyond performance
A Practice of Surrender
Fangyou’s work does not seek validation—it seeks truth. She paints from the inside out: from the body’s knowing, the tremor of the heart, the breath between silences. Her gestures are not performed, but surrendered. The canvas becomes a threshold where being and becoming collide.
Her practice is urgent, embodied, and poetic. Whether through painting, talisman creation, or somatic exchange, her gestures carry the vibration of presence. She invites the viewer into a space where time dissolves, emotion echoes, and the soul remembers.
Her art is not a product. It is a mirror. A frequency. A question.
Selected
Exhibitions & Awards
- Women in Art Biennale, London — Sept 2025
2nd Prize Winner, Artio Gallery Art Prize 2025 - Artio Gallery, Barcelona — Sept 2025
- Artio Gallery, Paris — Oct 2025
- Interconnecting Lines, New York — Oct 2025
- BBA Gallery 360°, Berlin (Online International Showcase) — 2025
- MEAM (European Museum of Modern Art), Barcelona — April 2026
- Art Shopping, Carrousel du Louvre, Paris — April 2026
- Art Paris, Grand Palais, Paris— April 2026
- Art Basel, Basel — June 2026
- Art Capital, Grand Palais, Paris — Feb 2026