Retrace of the World
Wang Chuan Zhang Hao Tian Wei
策展人：夏可君博士 Curator: Dr. Xia Kejun
王川 WANG CHUAN
Wang Chuan uses the hairbrush to develop anabstract form of writing, revitalizing the lines of the ink with life-emotionsand body-sensations, endowing the flat space with the shiver of breaths. Atfirst glance, it may look like the western grid-style abstract painting,however, by the tensions and releases in the movement, it brings the dwellingsof the turn-point into the strokes. The lines of Wang Chuan’s ink paintings arealways seeking and shivering, endowed with the vocal tones of breathing,sometimes resounding, sometimes modulating, yet not breaking off easily, theconvulsion and shiver of the ink lines respond to the trauma and agony of humanlife, the spontaneous pauses and transitions lend additional profundity to theplane space. The pauses, bearing the pressure of the catastrophe of modernity,provide the lines of Wang Chuan with a quality to surpass nothingness. When thesensible objects, such as boxes and chairs, appear in the picture, they arelike the remainders and mutilations of human body. The jagged line, seems likea life entity sawing by time, meandering with throes and spasms, is the ironyof the mortal human body, also shows the formidable endurance of life. Those arethe final residuum left for the world, the hints of human agony, and theevidences of the woes and spiritual practices of mortal life. The artisttransforms those mundane objects of daily life into sacred instruments ofBuddhist practice, the paintings are the testimonies of the tenacious effortsof existence!
张浩 ZHANG HAO
Zhang Hao’s hairbrushthinking reveals sufficiently the imprinted memories after the spiritualjourneys of the artist, depends exclusively on the movements of the brushstrokeon the fiber paper, integrates with the reveries of the individual, theresidual vision image, the simplified silhouette of architecture, theprimordial text extraction from image, as well as the inadvertent brushstrokesleft on the paper. Hairbrush thinking awakens our primitive instinct ofpersonal experience. Several ink blocks, with body gestures, interwoven witheach other, as if suspending in the space, endowing the blank space with solidweightiness. Seen from the details, we can hear the husky tones of the strokemarks on the fiber paper, feel the breaths and quivers of the cracks on theblank space. The secretive noises reverberate on the painting like thelingering charms of the blank: cracks, splits, wounds and voids, vitalizing thewhole space, endowing the space with an aura of body through themind-meandering activity. Those dialoguing ink blocks on the works are neitherabstract nor figurative, neither text nor image, this ambiguity betweenlikeness and unlikeness stimulates the imagination of the spectators, theinspiration and intuition of Zhang Hao’s works transcend the boundaries of theoriental and western abstract painting, thereby poeticizing the earthly world, leadingus onward for a spiritual journey.
Tian Wei’s vipassanaBuddhism practices is embodied in his work, through the folding and refoldingof the fiber paper, and dozens of times of color rendering, thereby leaving ablank streak of the creases on the paper, this technique of painting enshrinesand reflects the supreme principles of the traditional Chinese ink painting,that is to paint without painting, the crease line on the paper was notdeliberately painted, the artist only paints the peripheries, then unfolds,inadvertently left a blank space on the paper, like a streak of white light.The artist chants mantras while painting, reaching to a moment of spiritualenlightenment, striked by a flash of illumination after the zazen meditation.This is a streak of white light filtered out through the blank space, a lightof shariputra, of internal eternity, fervent yet calm, ethereal and vivacious,surging and pushing forward by the brush strokes, a streak of light dazzlingout, illuminates the world, purifies our mind. This internal light is an auraof guidance to our thoughts: the whole world was implicated on the painting,dominated by the white light of purification and guidance, perhaps it is theBuddha’s light, or the light of enlightenment in Christian religion, the lightof calmness purifying our thoughtsin Taoism, or the melodic sequences of the cosmic rays. Covered ingold dust and traditional Chinese painting pigments, the mixture of color tracesout an ever-surging horizon line, vivid and fiery.