The works of Yayoi Kusama are categorized by critics into various artistic schools including feminism, minimalism, surrealism, art brut, pop art and abstract expressionism. However, in accordance with her description, she is only an obsessive artist. For her works, she attempts to present the deep-rooted contents featuring autobiography and sexual orientation. The methods she uses for creation include painting, soft sculpture, performance art and installation art. In the early period of creation, Yayoi Kusama developed her own distinct style that she was expert at combining dotted pattern featuring high color comparison and mirror to cover the surface of variant articles such as wall, floor, canvas, articles available at home and naked assistant). She was well-known due to the consistency of her dress and works, short garment and strong eye shadow. Yayoi Kusama once said that these visual characteristics originated from her hallucination and she considered that these dots made up an infinity net that stood for her life. What’s more, Yayoi Kusama also developed her unique feature “Reproduction”. Many of her works were displayed in the form of mushroom. After 1990s, Yayoi Kusama entered the field of commercial art to cooperate with the circle of garment design to present distinct garments characterized by unparalleled dots of Yayoi Kusama and started to sell many artistic commodities. Yayoi Kusama is also one of contemporary writers in Japan. In the wake of her return to Japan and settlement in 1978, she had published...
Every artistic format's spiritual values evolve along with the changes of time, the same goes with Ink painting. Today, we live in an era that artistic languages constantly seek for innovation, and artistic concepts thrive on breakthroughs. Ink painting is right in the middle of such an era, a period of alternation or to say exploring the process of change. To realize changes, the key is for the artists to practice their own art, and reconstruct traditional ink painting through practice. That gives today's ink painting many possibilities, and it represents a world as big as artists' imagination can reach. The seven artists at this exhibition are Deshu Qiu, Jinsong Yang, Guoyuan Deng, Xinmao Chen, Hao Zhang, Hong Lei, and Quan Zhang. All of them have their own unique styles and are quite innovative in their creation of modern ink paintings. Languages and images are carriers of spirit. Artists' aesthetic spirit and concept of creation best show through language and image. Languages and images artists build through their visual experiences can be seen as a demonstration of their hidden inner spiritual world. In this exhibition, the artists either make a subversive revolution in materials or media to create personal signature pieces that match with the contemporary aesthetic spirit, or borrow western artistic concepts and languages to combine east and west and reconstruct water & ink on some fundamental level. All these works contain artists' deep understanding of ink painting, furthermore...
Drifting is a collection of works that has been companying JIANG Zheng Gen for years. The canvas with simple lines of colors and the light emitted from it produces an unique visual effect, where the neat patterns enchant the audience with illusionary space without borders. “Drifting” in the context depicts not only the illustration of space and time but also the care of life, which presents a solution to approach the urban solitude, but in the meantime, an abstracted concept from the artist on the impression of urban texture. By continuing the creation of “Drifting”, his spirits has been experiencing subtle transformation to reach its own destiny. It has revealed to us the tolerance and peace inside JIANG Zheng Gen and led us to his soul between the tranquil lines on his canvas. Above all, JIANG Zheng Hen’s works have convinced me the quote: “The essence of abstraction art is human spirit”.
Gulistan’s insight into life can be found in her paintings. With herself being an element of the painting, her will crosses time, embodied by the subtle change in lines and colors. The change finally makes a space for an image. In the boundless space, she recalls her memory, piece by piece, attentively polishing them. These memories are silently whispering while she listens with all ears, echoing the sound in her soul. Thus she makes time a trace of memory, treasuring it up in her paintings. As fragile as it is, the trace is unyielding, sensitive and rich in meaning. Isn’t it fine and real?
Art is a feast to human. The charm from the canvas had never ceased to smooth our visual aspiration. Whilst the school of postmodernism declared the doom day of art history, the diversity of art today, however, stroke us with the birth of a new age for creation. Among the vast categories in painting, figurative art had been evolving with vibrant modern life style to establish its status in contemporary art. These five figurative artists in this hall are all in their golden times of creation. In spite of their difference in styles and experiences, their names are to be engraved as benchmarks for the creation of figurative forms in China today, where their persistence in originality and academic techniques had been of great assistance in highlighting individual perception from personal style and the reality of forms. Their philosophy for beauty is not confined to express the real forms with aesthetics, but the truth moving them in the soul in observation. While it is this very truth that brings us together in front of their canvas, to witness the possibility for the return of art to our fast-changing contemporary daily routine, it has thus as well engraved their names as benchmarks on Chinese contemporary art.
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