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.
As Pablo Picasso described his life as the constant pursuit to paint like a child, the same spirit could be spotted in the works of Joan Miró. During the years between 1948 and 1953, the artist’s efforts had been focused on the expression of a form that is simple, exaggerating but above all undeniably truthful, which had opened a way for the successors to follow when boundaries had been reached in their own creations, where Shahid Parvez is one of them. His works illustrating the most sincere feelings in the heart of children is the romance that could not be sensed if the audience could not let go of the complexity of the world of majors. In the airy lines and textures like children’s appliqué, his canvas has been filled with humor and metaphors. Although his visual languages had adopted the very childish way, the technique he had developed to realize his never land is never immature. Comparing to the first attempts in the young lives to explore the world and to express the purity of their minds, Shahid Parvez had been looking for a summary for his years of expedition. It is thus in the colors and forms, his personality and style are well reserved and presented to the audience along with his conclusions in society and individuals. On one side his works are full of fantasies merrily creating an atmosphere infused with the laughers in his memory. On...
This group exhibition is accomplished under the planning of Art China of Britain and the associating of The Print Studio at Cambridge and St. Barnabus Press.The twelve artists in this exhibition bring us spectacular visions that have illustrated the prospect of engraving art in Britain today. These art pieces shown are created in the late five years, conveying the artists’ address on the mental experience aroused by social evolutions, have included the technical categories of woodcut, etching, Carborundum, linocut, screen print, lithograph and combined techniques. All vibrant in the field of engraving art, part of the artists had joined the faculty of art academies while the others are pursuing art as full-time, of whom, for instance, Anthony Green, an intimate to the Royal Art Association, and Stanly Donwood, a vanguard among the artists today on canvas and engravings, whose works are well acclaimed in an international scale. For the curators of this exhibition Kip Gresham and James Hill, their perennial cooperation with distinguished artists all over the world had been an eternal impetus for the development of this art form in UK. Their somehow abstract genres have witnessed with them the vicissitude of our habitat. It is our sincere hope a more legible social environment could be found in the images, so do the British engravings today.
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