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Recent Works by Xie Xiaoze


October 30, 2010 – January 4, 2011

April-November 2008 G.Z.R.B. 2008å¹´4月-11月广州日报, 2010

April-November 2008 G.Z.R.B. 2008年4月-11月广州日报


Oil on canvas 布上油彩

48 x 92 in (122 x 234 cm)

Chinese Library #42 中国图书馆42号, 2009 

Chinese Library #42 中国图书馆42号


Oil on canvas 布上油彩

32 x 61 in (81 x 155 cm)

July-August 2008 X.X.S.B. 2008å¹´7月-8月信息时报, 2010

July-August 2008 X.X.S.B. 2008年7月-8月信息时报


Oil on canvas 布上油彩

52 x 85 ¼ in (132 x 206 cm)

June-August 2008 G.Z.R.B. 2008å¹´6月-8月广州日报, 2010

June-August 2008 G.Z.R.B. 2008年6月-8月广州日报


Oil on canvas 布上油彩

80 x 93 in (203 x 236 cm)

Chambers Fine Art is pleased to announce the opening on October 30 of  Layers: Recent Works by Xiaoze Xie.. The title refers to the stacks of Chinese books and newspapers that are depicted in the paintings as well as to the historical dimension of the events hinted at and partially visible in many of the works. In another dramatic series of paintings and in an installation, the topic of the deliberate destruction of printed matter is addressed.

Born in Guangdong in 1966, Xiaoze Xie graduated from Tsinghua University and the Central Academy of Arts and Design, Beijing before moving to the United States and settling in Texas where he continued his studies in a very different environment. As a realist painter by vocation, early on in his career Xie found a way to combine his passionate interest in aspects of Chinese history and current world events with more formal concerns by focusing on the materials stored in archives and library stacks as the subject matter of his paintings. Admitted to areas normally out of bounds to the general public, Xie found a rich source of material in library stacks ranging from the monochromatic bindings and pages characteristic of traditional Chinese books to the exaggerated colors of the photographs found in most contemporary newspapers and magazines.

Unlike the newspaper paintings, the Chinese Library series which began in 1995 is not time-specific in its references. The decaying volumes and manuscripts in three paintings in the series (nos. 42, 43 and 45) refer in generic terms to China’s complicated history, to traditions that are on the point of disappearing before the onslaught of modernity that is characteristic of China today. In contrast, the newspaper paintings are multi-colored and specific in their references to current events. The local and national newspapers that have appeared in his paintings for the last ten years, selected primarily for visual interest, also offer an unofficial history of the decade with references ranging from September 11, 2001 and the war in Iraq to the Beijing Olympics and the Sichuan earthquake that figure prominently in the most recent paintings included in the current exhibition.

Unlike many of his contemporaries who left China in the 1980s and early 1990s and have subsequently returned, Xie stayed in the United States where he has had a distinguished professional career. He is currently the Paul L. & Phyllis Wattis Professor in Art, Department of Art & Art History, Stanford University, California. Coming at a time when there is unprecedented interest in contemporary Chinese both within and without China, the current exhibition of Xie’s latest work will provide a fascinating opportunity to see his paintings in the country of his birth which has provided the subject matter for much of his oeuvre even during the years he spent abroad.





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