EGG Gallery is proud to announce that it will present the group exhibition "Install" by artists Zhu Lan, Cao Xiaodong, Yu Yang, Jin Jinghua, and Pamela See from the 11th of January to the 23rd of February, 2020.
At the beginning of the new year, EGG Gallery will continue to display a calm, composed, poetic and spiritual orientation, showing the five collaborating artist’s journeys to explore and practice the multiplicity of Contemporary Art.
Their commonality lies in the fact that they originate from traditional techniques and aesthetic concepts, break or reconstruct pictures and aesthetic standards, and they even ignore the dimensions of artwork.
The works in this exhibition span more than 10 years. In a sense, they allow us to review the growth of the artists, and at the same time also allows us to see the imprint left on the artists by the development of contemporary art.
朱岚 Zhu Lan
骨密度 Bone Mineral Density，水墨 Chinese Ink, 138x207cm, 2016
Musicality is behind Zhu Lan’s ink paintings, which reveals an instant and pure expression of her inner situation. To some extent, Zhu Lan’s paintings are reminiscent of Vasily Kandinsky’s juxtaposition of art and music – the rhythmic expression of the abstract geometric form in his paintings.
The form is the carrier for Zhu Lan to express her inner feelings, spiritualities and rational thoughts. In her works, the visual expression of either a tiny ink spot or a simple brush line is based on the extension of her previous ink painting learning and the result of her life experience precipitation. Each piece of work showcases her experience at a particular stage.
曹小东 Cao Xiaodong
水墨1号 Chinese Ink No.1, 布面水墨, Chinese Ink on Canvas, 200×200cm, 2006
Cao Xiaodong started his "dot" series in the early 1990s. This was an experimental painting, where he burned the canvas with a wax candle to produce rows of dots in the shape of a matrix. This experimental painting technically isn’t abstract, he was rather exploring the fundamental question: What is painting?
In a sense, Cao Xiaodong's experiment was an anti-painting method: no paint, no image modeling, brush strokes and texture were excluded. This results in the picture becoming a trace left on the canvas through the behavior of painting. Painting is no longer an imitation and reproduction of forms and images, it is just a mark or a physical result left over.
于洋 Yu Yang
水墨物语No.7，No.7 Shui Mo Wu Yu, 纸本水墨平时创作废弃物, Left Over Materials, 180x235cm, 2014
The use of scraps is a common practice for Yu Yang, this corporates and merges with his ink strokes and reflects his interest in the possibilities of collapsing the order of painting, considering the flexible correlation between natural order and artificial order. Rearranging the relationship between space and evenness by the rate of calmness. The combination of various elements fully demonstrates the free expression of ink and color in random allocation as well as strict geometric order.
金京华 Jin Jinghua
一组山石构图 No.2 A composition of mountain rocks No.2, 宣纸,墨,矿物颜料 Rice Paper, Ink, Mineral pigments，84x113cm,125x86cm,120x80cm, 2015
Patchwork of stakes with trimmed leaves to enhance the greenery. The artist's image echoes in the landscape of traditional Chinese art. The landscape rheology consists of stagnant residues: all the wooden structures are drawn from the demolition of the old building ... Judging on hesitation: whether this is about the aftermath of a demolition by grief, or is it itself part of the natural aesthetic act of demolishing. What is certain is that the expansion of urbanization in the recent years will destroy the natural and traditional landscape. The landscape of the soul and the remnants of the reality come into conjunction.
薛美龄 Palema See
条纹连衣裙 Striped Dress, Bronze, 87x70cm
Pamela See is an overseas Chinese female artist hailing from Australia. She currently resides and makes art in her home of Melbourne. She has been studying and closely observing the history, culture and everyday dribs and drabs of China. She has cleverly managed to modernize the traditional craft of Chinese paper cutting. Replacing manual cutting skills with laser cutting and paper with stainless steel, two-dimensional Chinese paper creations are transformed into vivid, three-dimensional sculptures. The artist aims to puncture the superficial marks of China's economy as well as the symbols of domination prevalent throughout the various Chinese dynasties, through her depictionsof textile assembly lines and the gates of Heaven. In doing so, she implicitly reveals the dual ecological pollution inflicted on material life and the environment, a major concern of present-day China.
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