Opening: 10 Sep., 2016, 4–6pm
Exhibition Dates: 11 Sep. – 16 Oct., 2016
Opening Hours: Tues–Sun, 11am – 6pm
Boers-Li Gallery is proud to present Huang Rui’s solo exhibition,“Huang Rui: Space – Japan Period” on September 10th, 2016.
Huang Rui was born in 1952, and started to publish his works officially from 1979 when the Star Art Society flourished. Post-war modern fine arts in China was originated from the Stars, so the opinion of its starting from the painting movement in 1985 was wrong. Huang Rui was a major member of Star Art Exhibition, he discerned the fact that people considered post-war modern fine arts as originating from the 85th fine arts movement. Meanwhile, he was lucky enough to live in Japan for 15 years from 1984 to 2000 and started his career there. Chinese culture then was basically in an isolated status, for which he left China and had an understanding of the history and current status of Japanese and European fine arts.
By virtue of his living experience in Japan, he promoted his own painting towards abstract paining. And there are three points counted as comparatively important of his abstract painting.
Firstly, abstraction for him does not amount to the issue of style, a fact he might have gained from the current status of Japanese and Western painting. As to the reason why people started to consider the first issue of fine arts was painting itself rather than style in the modern painting of the world after 1970s, and this understanding became a common sense thereafter. In other words, the most important thing is to surpass previous paintings.
Secondly, he wanted to exceed paintings drew in the past, that is never to adopt western methods nor that of Japan (also not to imitate these methods), he thoroughly explored the method of his own. He considers that the world is composed of Yin and Yang fundamentally, so the most important thing for him is to make painting structure conform to Yin and Yang. In another way, whatever he paints or represents his painting in whatever style, painting structure always comes first. He strives to make it the same as Yin and Yang as far as possible and making Yin and Yang overlap with one another.
Thirdly, it’s about what this kind of painting portrays. Basically, painting is restored to certain content. About painting, it’s not to arbitrarily take anything encountered as its object, nor to paint scenery, figure or event in the traditional manner as photographing, nor like photographing itself, fauvism, cubism, surrealism, pop art, comics or other forms since disassembly won’t work either, nor the traditional geometrical abstraction or abstract painting.
Let the “form” sink in the deepest level, which means to add “form” into the structure of the painting. Huang Rui was not simply painting the “form”. Whether it be the Old Summer Palace, or figure, what he wanted to paint is “events”, including human beings. He had always been thinking about how to depict “events”, including all sorts of individual events and social or political events occurred in our daily life. Even if painting static “form” in normal mode, that is no more than illustration, illustrating through pictures which is not painting. To represent “events” by independent painting, painting method is totally different from disassembly. And exploration of this kind of painting is originated from Japan.
Human beings live in the world which consists of Yin and Yang, and all sorts of “events” occurred daily. It’s unprecedented to represent the world not relying on “form”. It’s not inexistent in both eastern and western world to try to make painting space be where the spirit lies, but ‘form” to this kind of trying is always like noise. Huang Rui is the first one to clear this kind of noise with conscious.
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