Wang Jieyin’s Grand Landscape and His Contribution to Chinese Painting
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.
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