Artist｜Sang Huoyao
Curator｜Dr. Xia Kejun
Opening | 16:30 p.m. 2016.5.29
Duration ｜2016.05.29 – 2016.7.20
Renke Gallery is pleased to present “Sang Huoyao and Rothko: Breathing Tone” the solo exhibition of the contemporary ink painting artist Sang Huoyao. The gallery utilizes three of its major exhibition rooms to cover the creative endeavour of the artist in the last decade, especially focusing on his 42 major works from 2012 to 2016.The exhibition begins with the latest works of Sang created in the last two years showcases in Exhibition Room No.1 , and goes on to the other two rooms to provide a point of penetration of the many paths that the artist’s work of his signature “Silk Blocks of Sang” ....
SANG HUOYAO
Born in 1963. Contemporary ink and wash artist, a full-time painter in the Institute of Creative Chinese Art, Graduate School of Chinese National Academy of Arts, National A-level artist. The founder of Jing Xiang (literally situational image) painting. In 2011, attended Venice Biennale. Member of both China Artist Asso- ciation and Chinese Calligraphy Association. Works are collected by Beijing Today Art Museum, Shanghai Art Museum, Guangdong Art Museum, Zhejiang Art Mu- seum, Suzhou Art Museumn and private collectors. Now work and live in Beijing.
MAIN EXHIBITION
2016, Sang Huoyao and Rothko: Breathing Tone, Renke Art Gallery, Gangzhou
2016, Edge of time, Fuyan Commune, Beijing 2015, The Cosmic Spirit and Light, Yuheng Gallery
2015, Beyond the Cloud: exhibition of Sang Huoyao’s works, Henglu Art Museum
2014, Over the River of Peach Blossom: exhibition of Sang Huoyao’s Jing Xiang ink works, Shanghai Huashi Gallery
2013, Jing Xiang Painting: exhibition of Sang Huoyao’s works, Guangdong Art Museum
2012, Jing Xiang Painting: exhibition of Sang Huoyao’s works, Shanghai Art Museum
2011, Sang Huoyao Solo Exhibition,Beijing Today Art Museum
2016, Quarto colour, EGG Art Gallery, Beijing
2015, The 2nd Nanjing International Art Expo, Nanjing International Exhibition Centre
2015, The Manifestation of Ink, China’s Contemporary Ink International Exhibition, Beijing Zhongjian Art Museum
2015, the Void: A Conversation of Drawing – Mountain, Water and Landscape, Shanghai Mingyuan Contemporary Art Museum
2014, The Fading of A Drifting Heart, inviting exhibition of New Ink works, Nanjing Pioneer Contemporary Art Center
2014, Group Exhibition of Contemporary Chinese Ink Art, Beijing Xinyi Space
2014, Coldness and Converting: group exhibition of contemporary Chinese ink art, Soka Art Center
2014, New Language of Ink: group exhibition of new ink works, Jiangsu Art Museum
2013, New Poetry: exhibition of contemporary Chinese ink art, Soka Art Center
2013, Page of China: exhibition of contemporary ink art, Sanshang Art Museum
2012, Themed exhibition, Hangzhou Art Expo
2012, Asia Contemporary Art Group Exhibition, Today Art Museum
2012, Shanghai New Ink and Wash Art Exhibition
2012, Theme Exhibition of Hangzhou Art Expo
2012, Memory of South China: China Contemporary Art Exhibition Asia Modern Art Exhibition, Taiwan Art Museum
2011, Exhibition of Contemporary Asian Art , Netherlands Contemporary Art Museum
2011, Ink·Border: Contemporary Art, Venice Biennale, Italia
2011, Sea Horizon Exhibition, Shanghai
PREFACE
Text/Xia Kejun
In the modern time, how does classical Chinese silk painting generates a new image but still keep its simplicity? How to adopt new images without becoming just a medium？ Silk, being in an awkward position of the dedicate transition between ink painting on rice paper and oil painting on canvas, how could it stay transparent after times of coloring and drawing? How to accommodate the rich colors of oil paintings and keep them quietly elegant? How to embrace the disintegration of modernity and yet remain indifferent, how to maintain the flatness of the plain surface but also have the inner depth? How does silk obtain the spiritual thickness of modern existence? How to fully present the fragmentation and damage of modern individuals? And how to take in the sentiment of tragedy and stay calm？ These are the paradoxes, but also challenges.
The artist Sang Huoyao, who has studied silk painting for decades, faced the challenge: his overlapping, which is the art of seven veils and coincidentally match the rhyming beauty of Chinese Song Poems. There are only square or rhomboid pieces of silk in the frame, and only by overlapping the silks it keeps both transparency and deep space. The light-leaking gap is a metaphor for imperfection, makes it dazzling and indifference, and forms the rhyming beauty of silk. The overlapping parts of the silk have variations of color temperature, and there is a strong stretch between the silk pieces, so that you feel the faint pain of being tore. The silk was dyed into jade green, dark green or taupe, burnt sienna or crow green, purple or vermeil, this kind of typical and quaint Chinese colors that seems to be dyed by time. There is no lack of thickness but full of sedimentation of time. It is not only the overlapping of color but also fragileness, implies the inner twists of Chinese painting that the more glittering the jade, the more fragile it is. The emptiness of modernity and the fragility of life are evident, but the painting is once again guarded the fragments by its clear clarity.
In modern aesthetics, painting is also overlapped with foreign cultures and forms new markers of western religions and aesthetics. One single piece of silk attached to the basal silk like a handkerchief; we seem to see the series of western Christianity painting Veronica’s Veil, though there are no sign of the face of Jesus Christ’s face on it, we can still feel the faint breath of life by the subtle damage, mournful tone and irreparable void of the silk.
These invisible impressions also have gone through the transformation of modern art. It is almost like the fuzzy breath of Rothko’s color blocks and the trace of implied trauma and bruising are also overlapped with Sang Huoyao’s silks. This is a subtle and profound interweaving of modern art across culture.
Overlap, is the internal overlap of itself, is to cover and protect itself. The overlapped rice papers on the silk surface have induced the beauty of greater variety. The poetic game between the center and the edge fascinates us: the layering rice papers in the center breed endless suffering and mood， while the jagged edges were still scattered with its delicate halo breathing.
Sang Huoyao transformed Rothko’s sorrowful color into the Chinese style rhyming beauty. There are the basic features of Chinese painting rewriting the aesthetics of modernity: accept decadence and injury, but return to the quaint elegance, and still maintain the natural tone of transparency along with the growth of the quiet breathing.
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