Contemporary Chinese society and the relation to ancient mythology and history have disputes concerning the gender and significance of the Buddha Guanyin. The question of Guanyin being a feminine or androgynous character spites the sensible gender discussion in China. Stevens Vaughn´s “Feminine Buddha” is an ode and a comment to the feminist policies of the Red army which constitutionally makes China one of the most gender equal societies. Vaughn´s 40 years research of Chinese ancient history and contemporary society combines in his Pansexual buddhas reflecting on the impact of Buddhist and Daoist societal philosophical base to the constitution and contemporary Gender types and power relations. The Buddhas has been exhibited in Venice during the 57th Biennale, in Susanne Ottesen Gallery in Denmark, at Miami Red dot Art, and in Santiago, at Ch.ACO 2019.
From Ch.ACO 2019:
"Though most spaces hailed from Latin America, 2018 proved to be a more global iteration of Ch.ACO compared to editions past. Galleries also came from the United States and Europe, with Nothing Gallery constituting the sole participation from China showcasing, among other works, a series of ceramic Guan Yin busts dressed in Mao suits by
Stevens Vaughn ('Feminine Buddha', 2009)."