Enoch Cheung, Retroactive Interference, 2017
Enoch Cheung is a conceptual artist working with photography, video and mixed media installation to question our perception of daily life and social issues. He was fascinated by the intersection of heritage and contemporary architecture at the Asia Society Hong Kong Center. In 2017, during the exhibition Breathing Space: Contemporary Art from Hong Kong, he used long exposure night-time photography to produce these panoramic images that delineate all the seams where old and material converge at the site. By punctuating the restored heritage with laser beams, the artist calls attention to the memories that still remain from colonial historic vestiges.
Gu Wenda, Mythos of Lost Dynasties, Series E-6, 1997
Gu Wenda is one of China’s most influential contemporary artists known for his practice using traditional ink painting, poetry, calligraphy, and pseudo-characters as well as human body materials to reinterpret ancient Chinese tradition and reflect on problems of globalization. This painting is part of his ongoing Mythos of Lost Dynasties series started in 1983. As with many other works in the series, this painting features a monumental pseudo-Chinese seal script character emerging from a splashed ink landscape. To contemporary readers, the ancient Chinese seal script and his invented ideograph could be equally as illegible. The artist consistently employs pseudo-ideographs in his practice to create an ambiguous familiarity that questions the boundaries of semantic meaning and one’s relationship with cultural history.
Hao Liang, Day and Night I and II, 2017- 2018
Hao Liang private collection of Pia Miller Getty
Hao Liang is a painter trained in traditional Chinese ink painting and recognized for his contemporary landscape compositions that weave together Chinese and Western cultural allegory. This pair of diptychs explore the subject of time and perspective. He depicts the same fantastical landscape in two versions, a monumental one of a colorful day, and a smaller one showing the intense dark of night. In both, the artist distorts spatial dimensionality and proportions, emphasizing the constant transformation of the sea, land and sky. The diptych was inspired by inkstone tablets of Qing dynasty literatus Wang Ziruo who created small replicas of huge, eroding ancient steles engraved with various texts, pictures and historical information. Struck by these tablets and their rubbings, the artist applied the same logic to his landscapes, showing how light, scale, and texture alter legibility and memory.
Eddie Kang, Big City Life, 2017
Supported by Consulate General of the Republic of Korea in Hong Kong, Festive Korea 2017, Christina Hee-Kyung Kang, Paradigm Art Compnay, Jung-Yong Lee, Gaga Art Gallery
Eddie Kang is a South Korean artist known for his original, nostalgic characters influenced by television and cartoon of the millennial generation. Inspired by his urban upbringing in Seoul, he created this sculpture with five of his original characters – Storyteller the Clown, Cabbit, Bubble Bearcup, Rag Doll and Goblin the Robot – to reflect a spectrum of emotions in city life that resonate with Hong Kong. The artist uses a cartoonish aesthetic to recall the joy and simplicity of childhood in the hopes of sharing optimism against the unrelenting change of a modern city.
Zeng Fanzhi, Night, 2005, 215 x 330 cm
The Fanzhi Foundation for Art and Education
Zeng Fanzhi has been boldly experimenting with the new forms of painting, continuing with his exploration of the relationship between colors and lines in expression. Night is a large-scale painting with a spectacular structure and embraces a sort of kinetic force, corresponding to the magnificent and exquisite human experience, and natural pattern of nature. Each line stretched on impasto mingles with different colors, while sculptural brushstrokes are painted with texture. A new layer of lines is superimposed on the overlaid oils. Each new stroke changes the trajectory of the original marks, alters the combination between colors, and unleashes the diverse possibilities behind the oil paint. Throughout the painting process, the imagery is ever-changing, and the painting is constantly in a perpetual state of motion and transition. Between the ambiguity of deconstruction and reconstruction, transformation, and superposition, Zeng Fanzhi retains a sense of contingency in his paintings, creating visual imageries and opening up uncertainties of interpretations, which depicts his unique expression towards the empirical world. This dynamic and sporadic spirituality is rooted in the artist's painting method and process. As the audience stands in front of the painting, they perceive the cadence from the ever-changing imagery, experience the purity of the tension between the momentum of lines and color, and have a sublimated abstract visual experience.
曾梵志探求創新的繪畫形式，並持續探索色彩和線條的表現關係。作品《夜》畫面結構恢宏磅礡，蘊藏動能，對應壯美宏闊的人類經驗與自然格局。 藝術家在厚塗顏料層上拉動線條，讓每一道線條混和著不同的顏色，筆觸如立體雕塑般充滿質量感。及後曾氏在畫布上疊加的新線條，都會拉動、改變原有筆觸的軌跡，轉化色彩之間的組合關係。色彩和線條之間互為牽引，亦釋放了油彩顏料的可能性和多樣性。在整個繪畫過程中，畫面不斷生成與改變，圖像始終處於一種恆動、變化中的狀態。 曾梵志在打破與重建，變化與疊加的辨証之間，使他的畫作保持了一種偶然性，成為開放而不封閉的圖像，亦是他對客觀世界的獨特感受。這種開放的動態，偶然而來的靈性，來自於藝術家的繪畫方式和過程。觀者站在畫面前方，並感知瞬息萬變的視覺節奏，經驗線條動勢與色彩中純粹的張力， 追求一種昇華的抽象視覺經驗。