Solo Exhibition

Grand Landscape

Solo Exhibition
Artist: Wang Jieyin
21 – 30.05/2019
Hong Kong Arts Centre, 5/F, Pao Galleries
3 – 14.06/2019
3812 Hong Kong Gallery

Modern Chinese painting has gone through two phases and two generations of artists: the figurative expression represented by Huang Binhong (1865-1955) and Sanyu (1941-1966) in the first half of the 20th century, and the abstract nature represented by Zao Wou-Ki (1921-2013) and Wu Guanzhong (1919-2010) in the second half of that century. In the 21st century, Chinese painting is led by the “third generation” artists with their even wider and more original contributions. These include Wang Jieyin (b. 1941), Shang Yang (b. 1942) and Qiu Shihua (b.1940). Wang Jieyin differs from the other artists for his extraordinary contribution not only through his oil paintings but also through his ink works, especially the large sized works represented by the Grand Landscape series.

The “third generation” painters in China are more self-conscious. Aiming at “contemporary expression of Eastern spirit,” they revive the naturalness in Chinese cultural tradition. Facing the damage by industrialization in the modern age, they reconstruct a mindscape of nature through nature’s elementariness and poetic artistic state, as well as poetry of ruin and damaged nature. Wang Jieyin’s oeuvre reveals the density of dark night, remains of ruins, the bitterness of earth, traces washed by time, magic urban mazes and boundless haze of the world. It also represents remote reminiscence of forceful and vigorous literati landscape as well as tenacious and indelible traces of nature. Accepting time while resisting it—such is the internal spiritual strength and the metaphysical quality of Wang Jieyin’s painting. Damaged nature can create a condition for redeeming modernity. This precisely incarnates contemporary transformation of Eastern spirit and the value of “grandness.”

The solo exhibition of Wang Jieyin at Hong Kong Arts Centre reveals how a detached and relaxed master with great vigor remarkably contributes to the “original language” of painting, as well as his profound “great love” for nature. In repainting Cézanne and reconstructing the depth of nature, the painter finds new links between observing nature and notions of life. With his own easy and free character and ordinary plainness of painting, alongside his passion for a piece of discarded canvas or Xuan paper, his intuition for the blank parts in ancient landscape and his memory of traces of ancient murals, the artist starts from the primitive manual feeling and black and white tones of his woodprints, and revives an artistic state which is quaint, carefree, magnanimous and fantastic. Through construction with abstract dots and montage of urbanized meandering spaces, the classical vivid spirit resonance and poetic artistic state are expressed in brand new ways in our contemporary age. Through his comprehensive imagination, Wang Jieyin creates implicit tension and eternal poeticism between abstract composition and natural mist, between reminiscence of quaint images and cursive blurriness, between improvisational happenstance and dignified elegance, between carefree play and rhythmic construction, and between a sense of hardship and childlike crudeness.

Works from the Grand Landscape series adequately incarnate the “threefold grandness” in terms of their gigantic dimensions, revival of the great value of Eastern spirit and extraordinary contributions to the “original language” of painting. They convey the contemporary value of Wang Jieyin’s painting in terms of reflecting on modernity: it preserves cultural memories of the traditional landscape, reflects on the disaster and ruination brought by modern industrialization, while observing the haze of modern city. In confronting the situation of “hybrid modernity,” Wang Jieyin’s painting integrates memory of “pre-modern” landscape painting, abstract thinking and spatial superimposition of “modernity” as well as magic vision of “post-modernity,” creating his own formal language and profound reflection full of tension. Through his concern for waste and the redemptive effect brought by the reminiscence of quaint temporality, he manages to reverse our perception of life, bringing back again the aura of painting.

Artwork

王勏音,《大山水》, 布面丙烯 Wang Jieyin, ‘Grand Lanscape’, Acrylic on canvas, 170cm x 150cm x 2, 2016

王勏音,《長堤》, 布面丙烯 Wang Jieyin, ‘Long Beach’, Acrylic on canvas, 70cm x 150cm x 2, 2015

王勏音,《晨光》, 布面丙烯 Wang Jieyin, ‘Light of Dawn’, Acrylic on canvas, 130cm x 230cm, 2015

王勏音,《綠亭》, 布面油畫 Wang Jieyin, ‘Green Pavilion’, Oil on canvas, 200cm x 100cm, 2016

王勏音,《魔幻山水A》, 水墨紙本 Wang Jieyin, ‘Magical Landscape A’, Ink on paper, 280cm x 139cm, 2016

王勏音,《魔幻山水B》, 水墨紙本 Wang Jieyin, ‘Magical Landscape B’, Ink on paper, 280cm x 139cm, 2016

王勏音,《化境》, 布面丙烯 Wang Jieyin, ‘Sublimation’, Acrylic on canvas, 40cm x 200cm, 2018

王勏音,《古潭蒼樹》, 布面丙烯 Wang Jieyin, ‘Ancient Lake with Ashen Trees’, Acrylic on canvas, 130cm x 65cm, 2017

王勏音,《玄亭》, 布面丙烯 Wang Jieyin, ‘The Black Pavilion’, Acrylic on canvas, 140cm x 50cm, 2018

王勏音,《夜色一》, 布面丙烯 Wang Jieyin, ‘Night Scene 1’, Acrylic on canvas, 120cm x 220cm, 2014

王勏音,《夜色二》, 布面丙烯 Wang Jieyin, ‘Night Scene 2’, Acrylic on canvas, 120cm x 220cm, 2014

王勏音,《空谷》, 布面丙烯 Wang Jieyin, ‘The Hollow Valley’, Acrylic on canvas, 140cm x 50cm, 2018

王勏音,《花卉方陣》, 布面丙烯 Wang Jieyin, ‘Floral Phalanx’, Acrylic on canvas, 100cm x 100cm, 2018

王勏音,《幽居(一)》, 布面丙烯 Wang Jieyin, ‘Dwelling 1’, Acrylic on canvas, 130cm x 190cm, 2017

王勏音,《幽居(二)》, 布面丙烯 Wang Jieyin, ‘Dwelling 2’, Acrylic on canvas, 130cm x 190cm, 2017

王勏音,《幽岫綠意》, 布面丙烯 Wang Jieyin, ‘Grotto Hidden in Greenery’, Acrylic on canvas, 200.5cm x 100.5cm, 2017

王勏音,《峽谷平湖》, 布面丙烯 Wang Jieyin, ‘Gorge and Lake’, Acrylic on canvas, 110cm x 180cm, 2017

王勏音,《氤氳》, 布面丙烯 Wang Jieyin, ‘Falling Mist’, Acrylic on canvas, 40cm x 200cm, 2018

王勏音,《高山深樹》, 布面丙烯 Wang Jieyin, ‘Mountain and Forest’, Acrylic on canvas, 110cm x 180cm, 2017

王勏音,《晨曲》, 布面丙烯 Wang Jieyin, ‘Song of Dawn’, Acrylic on canvas, 390cm x 220cm, 2017

王勏音,《深寺》, 布面丙烯 Wang Jieyin, ‘Temple in the Deep’, Acrylic on canvas, 140cm x 50cm, 2018

王勏音,《疏林斜陽》, 水墨紙本 Wang Jieyin, ‘Woodland and the Setting Sun’, Ink on paper, 133cm x 431cm, 2018

王勏音,《結構山水之一》, 水墨紙本 Wang Jieyin, ‘Structural Landscape – 1’, Ink on paper, 138cm x 69cm, 2018

王勏音,《結構山水之二》, 水墨纸本 Wang Jieyin, ‘Structural Landscape – 2’, Ink on paper, 138cm x 69cm, 2018

王勏音,《結構山水之三》, 水墨纸本 Wang Jieyin, ‘Structural Landscape – 3’, Ink on paper, 138cm x 69cm, 2018

王勏音,《雲間風度》, 布面油畫 Wang Jieyin, ‘Beyond Clouds’, Oil on canvas, 80cm x 70cm, 2016

王勏音,《園林》, 布面丙烯 Wang Jieyin, ‘Garden’, Acrylic on canvas, 100cm x 135cm, 2016

王勏音,《嵩陽塔影》, 布面丙烯 Wang Jieyin, ‘The Silhouette of Songyang Tower’, Acrylic on canvas, 70cm x 145cm x 2, 2017

王勏音,《綠天》, 布面丙烯 Wang Jieyin, ‘Green Skies’, Acrylic on canvas, 73cm x 100cm, 2017

王勏音,《簡寂》, 布面丙烯 Wang Jieyin, ‘Minimal Silence’, Acrylic on canvas, 40cm x 200cm, 2018

王勏音,《蒼潤》, 布面丙烯 Wang Jieyin, ‘Verdant’, Acrylic on canvas, 40cm x 200cm, 2018

王勏音,《蕭山平湖》, 水墨紙本 Wang Jieyin, ‘Xiaoshan Pinghu’, Ink on paper, 132.2cm x 427.2cm, 2018

王勏音,《懸湖》, 布面丙烯 Wang Jieyin, ‘The Hanging Lake’, Acrylic on canvas, 140cm x 50cm, 2018

王勏音,《古文觀止 – 1》, 素描 Wang Jieyin, ‘The Notes of Classical Chinese – 1’, Sketch, 40cm × 27cm, 2004

王勏音,《古文觀止 – 2》, 素描 Wang Jieyin, ‘The Notes of Classical Chinese – 2’, Sketch, 40cm × 27cm, 2004

王勏音,《古文觀止 – 3》, 素描 Wang Jieyin, ‘The Notes of Classical Chinese – 3’, Sketch, 40cm × 27cm, 2004

王勏音,《古文觀止 – 4》, 素描 Wang Jieyin, ‘The Notes of Classical Chinese – 4’, Sketch, 40cm × 27cm, 2004

王勏音,《古文觀止 – 5》, 素描 Wang Jieyin, ‘The Notes of Classical Chinese – 5’, Sketch, 40cm × 27cm, 2004

王勏音,《古文觀止 – 6》, 素描 Wang Jieyin, ‘The Notes of Classical Chinese – 6’, Sketch, 40cm × 27cm, 2004

王勏音,《伊甸 – 1》, 木刻原版 Wang Jieyin, ‘Eden – 1’, Original Wood Carving, 30cm × 40cm, 1994

王勏音,《伊甸 – 2》, 木刻原版 Wang Jieyin, ‘Eden – 2’, Original Wood Carving, 30cm × 40cm, 1994

王勏音,《伊甸 – 3》, 木刻原版 Wang Jieyin, ‘Eden – 3’, Original Wood Carving, 30cm × 40cm, 1994

王勏音,《伊甸 – 4》, 木刻原版 Wang Jieyin, ‘Eden – 4’, Original Wood Carving, 30cm × 40cm, 1994

王勏音,《伊甸 – 5》, 木刻原版 Wang Jieyin, ‘Eden – 5’, Original Wood Carving, 30cm × 40cm, 1994

王勏音,《伊甸 – 6》, 木刻原版 Wang Jieyin, ‘Eden – 6’, Original Wood Carving, 30cm × 40cm, 1994

王勏音,《伊甸 – 7》, 木刻原版 Wang Jieyin, ‘Eden – 7’, Original Wood Carving, 30cm × 40cm, 1994