Peng Wei's work often refers in general terms to antique masterpieces, but she objectifies them in ways that make evident the vast gulf between the modern painter and the masters of the art historical canon.  Rather than valorizing the accomplishments of a specific artist or work of art, as a traditionalist painter might do, the past seems to be an undifferentiated source of equally weighted visual ideas. She creates trompe l'oeil albums, hanging scrolls or hand scrolls by painting in polychromatic watercolor on both sides of her rough handmade paper, rendering with great care every part of the object, including both the image of a "painting" and the elaborate silk textile borders that would ornament its mounting.

——Julia F. Andrews

Distinguished University Professor

Ohio State University

　　Scrutiny of the long colophons translated from European philosophy, biography, or literature that she juxtaposes with her traditionalist paintings make this abundantly clear-Peng Wei tries to build a bridge between sixteenth century Chinese literati painting and European Renaissance art, to find the essence of humanity, regardless of where the civilization is located and human activity is taking place.

——Kuiyi Shen

Professor of Art History

Director of Chinese Studies

University of California, San Diego