Land of Serenity

Fu Xiaotong & Wang Fengge

BEIJING

May 2 – 31, 2015

Fu Xiaotong 付小桐 (b. 1976)

518,600 Pinpricks-Sacred Mountain 518,600 孔-圣山

2015

Handmade paper 手工宣纸

22 3/4 x 63 in (58 x 160 cm)

Fu Xiaotong 付小桐 (b. 1976)

605,800 Water 605,800 水

2015

Handmade paper 手工宣纸

22 3/4 x 63 in (58 x 160 cm)

Wang Fengge 王凤鸽 (b. 1982)

Mountain and Water 山是山 水是水

2014-2015

Acrylic and oil on canvas 丙烯油画

59 1/4 x 59 1/4 in (150 x 150 cm)

Wang Fengge 王凤鸽 (b. 1982)
Sunflower Sea 葵海
2012
Acrylic and oil on canvas 丙烯油画
59 1/4h x 59 1/4w in

Chambers Fine Art is pleased to announce the opening on May 2 of Land of Serenity: Fu Xiaotong and Wang Fengge. This will be the first solo exhibition by both artists at the gallery. Although there is a fundamental difference of approach in the technical aspect of their respective oeuvres, they both respond to the Chinese tradition of landscape painting although in fundamentally different ways.

Born in Shanxi in 1976, Fu Xiaotong received her BA in Fine Arts from the Tianjin Academy of Fine Arts, Tianjin in 2000. After working at the Institute of Fine Arts, Hebei United University, she received her MA in Fine Arts from the Department of Experimental Art, China Central Academy of Fine Arts, Beijing in 2013. For Fu Xiaotong, it is the overwhelming majesty of mountain ranges and the ocean that challenges her ability to convey their meaning on a flat surface. To accomplish this, she utilizes a seemingly counter-intuitive approach, choosing thick sheets of Xuan paper, the traditional support for Chinese painting through the centuries, which she perforates with a needle. 

The needle is traditionally used for the feminine pursuit of embroidery but for Fu Xiatong it becomes the implement with which she perforates the sheets of paper she uses for her works many thousands of times. She has described the way in which thousands of pinholes made in different directions are brought together to form shapes of mountains, waves and patterns inspired by other forms of nature. 

With her needles she damages the integrity of the surface of the paper but in doing so creates a new energy in which forms emerge from the angles at which light strikes the paper. Seen close to, the surface of the paper resembles that of a densely-worked tapestry in which abstract patterns are created from a limited range of shades of white. See from afar, these closely interlocking shapes are seen to have been inspired by changes of terrain in mountain ranges as they reach to the sky. 

Born in Shaanxi in 1982, Wang Fengge graduated from the China Central Academy of Fine Arts in 2009 and completed advanced studies from the same institution in 2011. Unlike Fu Xiaotong who has perfected a new technique, Wang Fengge continues to paint in oil on canvas although she admits to a deep respect for classical Chinese brush and ink painting. In her case, however, she achieves effects of comparable subtlety through multiple layers of closely related hues applied in small touches that derive ultimately from Pointillism, the 19th century French art movement whose most important exponent was Georges Seurat. 

Based on details of landscapes and buildings that she reduces to nearly abstract configurations, her paintings hover on the borderline between realism and abstraction without ever settling firmly in either camp. In the same way that her subdued patches of color are always in the process of defining themselves clearly, her compositions defy easy classification. What is it that we are seeing? Is it a man-made or a natural form? When recognizable elements do appear, they are bathed in a penumbral light that could be early morning or dusk. This preference for working at the outer limits of perceptibility is the secret of the paintings’ low-key allure.

前波画廊诚挚地宣布将于2015年5月2日起举办展览《付小桐 & 王凤鸽:寂净之地》。这将是两位艺术家首次在前波画廊举办个展。尽管她们在各自的艺术领域中所运用的创作手法和技巧有本质上的区别,但是他们都通过不同的创作语言表达了对中国传统山水画的理解。

付小桐于1976年出生于山西,2000年本科毕业于天津美术学院,后任教于河北理工大学艺术学院,并于2013年获中央美术学院实验艺术系硕士学位。对付小桐而言,平面的画布不足以表现山脉与海洋雄浑磅礴的气势。于是,她运用了一种出人意料、反直觉的创作手法,即将中国传统绘画中不可缺少的宣纸经过特殊定制加厚,再用针刺孔。

从传统意义上来说,针仅是运用于女性手工刺绣的一种工具。然而在付小桐手中,却成为了一种艺术创作手段,在纸上扎出成千上万个针眼。据付小桐描述,数以万计、朝着不同方向的细密针眼汇集在一起,变幻出山脉、波浪、以及源于大自然中其他景象的图案。

付小桐用针毁坏了纸面的完整性,但也由此赋予了它一种新的能量。当纸面受到从不同方向照射而来的光时,它透过针孔呈现出特殊的光影效果。走近观看,由有限、不同层次的白色调构成了抽象的图案,犹如繁复编织的挂毯。而从远观,这些交错纹理的图案似乎是受到了地形变化的启发,犹如山峦直冲云霄或是海浪滔天。

王凤鸽于1982年出生于陕西,2009年毕业于中央美术学院油画系,并于2011年在同一院校完成了研究生的学习。如果说付小桐不断追索一种新的创作手段并精益求精,王凤鸽则延续了布面油画这一经典媒材。虽然也推崇中国传统水墨画的博大精深,但在其作品里,她却运用了一种源于19世纪以乔治·修拉为代表的法国点彩画派的技法,通过细小的笔触用多层次及相交融和的色彩,营造出朦胧柔和的效果。

王凤鸽将风景和建筑的细节弱化到几乎抽象的轮廓,其作品徘徊于写实与抽象的边缘,而没有完全拘泥于两者间的任何一派。同样,她所用的柔和色块总是处于不断勾勒出清晰图像的过程之中,而构图也超越了简单的画风分类。我们看到了什么?是人为的创造还是自然景观?当可识别的物象最终显现在眼前,它们被笼罩在若隐若现的光影中,犹如黎明的曙光或黄昏的光晕。这种打破感知能力外部局限的艺术追求,是这些低调的油画作品的魅力所在。

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