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Strokes of genius test imagination
By Xu Wenwen |
March 6, 2012, Tuesday
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Print Edition
Print Edition
CHINESE calligraphy is frequently called abstract art but the exhibition "Spiritual Journey" is a collection of extra-large bold, dark strokes that do not convey particular meaning in Chinese characters but invite the viewers to find their own meaning.
The water-and-ink "Spiritual Journey" by contemporary painter Zhang Hao is the first solo show in the exhibition series "Decanter Ink" underway at the Sanshang Contemporary Art Museum in Hangzhou through March 14.
Characters are deconstructed into brush strokes that are then abstracted and recombined into various non-linguistic structures that overlap, crisscross or exist alone on rice paper. Their new meaning remains to be determined.
The paintings average 2 meters long and 1.5 meters wide, all in black and white, using Chinese ink only. They are not simply "hung" on walls, but use the entire exhibition space for "mounting." Some of the pictures extend from the wall onto the floor at a 45-degree angle, creating unusual visual effects and perceptions.
"I structure my paintings by observing myself, and I call that a spiritual journey," according to artist Zhang, a professor of the China Academy of Art in Hangzhou and the headmaster of the middle school attached to the academy.
"I cannot bear to see the decline of Chinese painting," he says. "I am obsessed with the art of water and ink."
The works are "dry paintings" that are of distinct firmness and clarity - in contrast to traditional ink-wash painting with various shades of gray and ink that "bleeds" into rice paper.
Zhang designed the exhibition space, as well as individual works. Entering the museum, one first sees the work titled "Spiritual Journey" and behind that a narrow hallway leads into the next exhibition hall.
"The intention is to make people see the artworks in different angles, not just standing in front of it," explains Zhang, noting that images also slide onto the floor.
"From the first work to the last, the way has been designed by me," he adds. "As people move on the way, the feeling toward the artworks vary."
On some large white walls, only a single large work is displayed, while some works are hung only 20 centimeters above the floor. The titles are not next to or below the works, which is typical in exhibitions, but instead are on pillars of the hall.
"Leaving some area blank is always a requirement of traditional Chinese paintings," Zhang says. "The space of the exhibition hall also is part of the exhibition and functions as blank space."
Since 2000 Zhang has been interested in the relationship between exhibited works and exhibition space and incorporated exhibition space into his own works.
The exhibition series "Decanter Ink" represents six noted contemporary calligraphy and Chinese painting artists; it is comprised of six solo exhibitions ("Spiritual Journey" being the first) and a collective show through June 1.
"Spiritual Journey"
Date: through March 14
Address: 52-1 Yan'an Rd S.
Tel: (0571) 8782-5611
The water-and-ink "Spiritual Journey" by contemporary painter Zhang Hao is the first solo show in the exhibition series "Decanter Ink" underway at the Sanshang Contemporary Art Museum in Hangzhou through March 14.
Characters are deconstructed into brush strokes that are then abstracted and recombined into various non-linguistic structures that overlap, crisscross or exist alone on rice paper. Their new meaning remains to be determined.
The paintings average 2 meters long and 1.5 meters wide, all in black and white, using Chinese ink only. They are not simply "hung" on walls, but use the entire exhibition space for "mounting." Some of the pictures extend from the wall onto the floor at a 45-degree angle, creating unusual visual effects and perceptions.
"I structure my paintings by observing myself, and I call that a spiritual journey," according to artist Zhang, a professor of the China Academy of Art in Hangzhou and the headmaster of the middle school attached to the academy.
"I cannot bear to see the decline of Chinese painting," he says. "I am obsessed with the art of water and ink."
The works are "dry paintings" that are of distinct firmness and clarity - in contrast to traditional ink-wash painting with various shades of gray and ink that "bleeds" into rice paper.
Zhang designed the exhibition space, as well as individual works. Entering the museum, one first sees the work titled "Spiritual Journey" and behind that a narrow hallway leads into the next exhibition hall.
"The intention is to make people see the artworks in different angles, not just standing in front of it," explains Zhang, noting that images also slide onto the floor.
"From the first work to the last, the way has been designed by me," he adds. "As people move on the way, the feeling toward the artworks vary."
On some large white walls, only a single large work is displayed, while some works are hung only 20 centimeters above the floor. The titles are not next to or below the works, which is typical in exhibitions, but instead are on pillars of the hall.
"Leaving some area blank is always a requirement of traditional Chinese paintings," Zhang says. "The space of the exhibition hall also is part of the exhibition and functions as blank space."
Since 2000 Zhang has been interested in the relationship between exhibited works and exhibition space and incorporated exhibition space into his own works.
The exhibition series "Decanter Ink" represents six noted contemporary calligraphy and Chinese painting artists; it is comprised of six solo exhibitions ("Spiritual Journey" being the first) and a collective show through June 1.
"Spiritual Journey"
Date: through March 14
Address: 52-1 Yan'an Rd S.
Tel: (0571) 8782-5611
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