New Works

Zhang Dun

NEW YORK

July 25 – September 5, 2013

New Works
Installation view

New Works
Installation view

New Works
Installation view

New Works
Installation view

Chambers Fine Art is pleased to announce the opening on July 25, 2013 of Zhang Dun: New Works. In her first exhibition at Chambers Fine Art, Zhang Dun turned the industrial environment of Shenyang where she spent her formative years for the subject-matter of her drawings. Her desolate urban landscapes, pencil drawings of remarkable refinement were noteworthy for the way in which she transforms industrial buildings of the type that can be found throughout China into haunting evocations of a world that no longer exists. 

From the 1990s onwards it was the destruction of the traditional architecture of Beijing that inspired many artists to document its demise. In the hands of Zhang Dun, it was the massive industrial architecture of the 1950s and 1960s that occasioned these elegiac reflections on this utilitarian architecture that is currently undergoing the same fate as the hutongs. 

In a new series of drawings of peaches, however, executed in colored pencil, Zhang reveals sensitivity to the forms of the natural world that had hitherto not appeared in her oeuvre. Whereas her street scenes, fully occupying the sheet or sheets of paper on which they were executed, were severe and monochromatic, the peaches are created from networks of fine pencil lines which range from the palest silvery grey to rich tones of yellow and pink.

Traditionally regarded as a symbol of longevity and health in China, the peach assumes monumental form in Zhang Dun’s drawings and is the sole focus of attention. Examining them from many different angles, emphasizing the surface demarcations which differ from one to the other, the luscious peaches are strangely disembodied and frankly erotic. There is a tension between the sensitive draftsmanship which can be admired for its own sake and the resulting three-dimensional forms which simultaneously evoke intimately observed aspects of the human body and the pieces of fruit from which they depart.

前波画廊荣幸地宣布将于2013年7月25日起在纽约举办张盾的个展。张盾出生在沈阳,在2011年前波画廊的首次展览中,她将沈阳的工业环境作为了其素描作品的主题。张盾所描绘的城市景观荒芜凄凉,其素描技能至臻完美。被空置了的工业建筑在北方随处可见,然而这些作品的独特之处便在于艺术家将观者引领到一个早已不存在、却又令人难以忘怀的时代。

自上世纪90年代起,北京开始大规模拆除传统建筑,激起了许多艺术家的灵感,并通过艺术创作记录了这一变迁。而张盾手中的铅笔却哀婉地描绘了建于上世纪五、六十年代的大型工业厂房,它们现在也和胡同一样有着相似的遭遇。而张盾手中的铅笔却哀婉地描绘了建于上世纪五、六十年代的大型工业厂房,它们现在也和胡同一样有着相似的遭遇。

张盾在一组新的彩色铅笔素描作品中,展示了她以往艺术创作中不曾出现的对自然界的精湛描绘。之前的街景作品占据了整版画纸,颜色单一,给人一种十分严肃的感觉。而她的水果系列则通过纤细的彩色铅笔线网络描绘而成,颜色范围从最浅的银灰色渐进至浓郁的黄色及粉红色。

桃子在中国传统文化中是长寿和健康的象征,在张盾的素描里每个桃子独立成为了主题。假如从不同的角度来欣赏这些作品,尤其当着重于其各不相同的画面分界时,这些被放大了多倍的桃子似乎遗失了本体,不再像桃子,而是非常坦然地流露出一丝妩媚。张盾细腻的素描技法本身就可以被独立欣赏,然而最终呈现出的富有三维立体感的画面不仅使人联想到那些水果本身,也唤起了对人体的联想。

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