[Caption] David DIAO, High and Low, 1979, Acrylic on Canvas, 213 x 213 cm
Since its founding in 1989, ESLITE GALLERY has been focusing on the development of contemporary abstract art, and six exhibitions about abstract painting took place in the very first year. In Art Beijing this year, we will present the group show "ESLITE．Modern．Abstract Art" (at Booth B15 in Contemporary Pavilion-Hall 11), highlighting five distinct and vibrant faces of abstract art since the 1980s.
David DIAO brings two works created in early 1980s, High and Low and Notorious. During this period, DIAO was experimenting with the composition of abstract painting based on the forms of modern art and architecture. He puts the forms and colors into play and negotiation, performing the dynamic changes of geometric patterns on the canvas.
Abstract painting is often named "untitled" to appear self-autonomous, which tradition is challenged by David DIAO. Alternatively, he appropriates the titles of films and books that have influence on him to name his works. For instance, High and Low is a namesake of Kurosawa Akira's film in 1963, while Notorious derives from the eponymous film of Alfred Hitchcock in 1946. Thus, DIAO creates intertextuality between his works and those of other artists. The meanings of his works also reach beyond the canvas.
David DIAO, Notorious, 1980, Acrylic on Canvas, 183 x 152.5 cm
TSONG Pu’s ten latest works in 2016 will be shown. TSONG moves beyond the customary forms of traditional two-dimensional painting and turns to emphasize painting’s materiality and abstract composition. He imprints and duplicates the cubic stamps in multiple layers, revealing the movement and self-autonomy of his ideas.
TSONG Pu, Small Government, 2016, Acrylic on Canvas, 44.5 x 52 cm
TSONG Pu, Primitive State, 2016, Acrylic on Canvas, 44.5 x 52 cm
TSONG Pu, Completion, 2016, Acrylic on Canvas, 91 x 116 cm
TSONG Pu, Blinding, 2016, Acrylic on Canvas, 91 x 116 cm
Works such as Composure feature pure and neat configuration. On the canvas, the aluminum readymades, paper, and the background stamps negotiate with one another. The symmetry and difference of varied lines and material units are thus highlighted.
TSONG Pu, Composure, 2016, Paper and Aluminum on Canvas, 73 x 91 cm
TSONG Pu, Everything Flows, 2016, Paper and Aluminum on Canvas, 97 x 130 cm
As Chia Chi Jason WANG indicates, “Tsong’s works feature the modular and serial structure characterized by Minimalism and Post-Minimalism. He adopts simple themes and iteratively organizes them into a complex and integrated whole.”*
TSONG Pu, Common Good, 2016, Paper and Aluminum on Canvas, 73 x 91 cm
TSONG Pu, Pure Consciousness, 2016, Paper and Aluminum on Canvas, 73 x 91 cm
TSONG Pu, Suspension, 2016, Paper and Aluminum on Canvas, 73 x 91 cm
TSONG Pu, A Whiff of Perception, 2016, Paper and Aluminum on Canvas, 73 x 91 cm
The Silver Lake series of Paul CHIANG applies black and gray shades to portray the flowing and arresting of perceptions and consciousness, reflecting the artist’s aspiration for natural mystery and energy.
Paul CHIANG, Silver Lake 07-07, 2007, Oil on Canvas, 200 x 300 cm
Critic TAO Wen-Yueh notes that CHIANG’s black is affectionate: “[His black] is tranquil and reserved, revealing his individual reflection about life. I think he has acquired the depth of ocean.”
Paul CHIANG, Silver Lake 07-08, 2007, Oil on Canvas, 200 x 300 cm
A participant of “Utopias / Heterotopias—Wuzhen International Contemporary Art Exhibition” that opened this past March, LAI Chih-Sheng measures the boundaries of reality through his creation. His works concern with immediate experiences and allude to some spiritual conditions about gloom, negativity, inversion, and lack. The viewers are allowed to deviate from the trajectories of reality for the time being, seeing and perceiving the work in and of itself.
No Ifs has metal rings in three more sides than the usual sketch book, so as to lose its original function as a sketch book. The viewers are unable to see the pages under the first one. The inaccessible emptiness / blackness can only be imagined. This work also implies the anxiety of the creator, who find his creativity captivated and unable to develop.
LAI Chih-Sheng, No Ifs Ed. 4/5, 2013, Paper, Metal Rings, 31 x 41 x 2 cm
The Untitled series demonstrates the artist’s equal dexterity in creating sculptures and plane works. Having been renowned for his sculptures, Shida KUO recently resumes plane creation, whose composition is organic and amusing. KUO is in constant search of “essential” form through varying and re-arranging fragmented or incomplete patterns. Above all, his works give off pure, innocent, and somewhat mysterious beauty.
Shida KUO, Untitled P 07-15, 2015, Acrylic on Canvas, 122 x 122 cm
Shida KUO: “I like to follow my own nature, and I particularly cherish the arbitrary happenings during my creation.”
His recent works continue his pursuit of primitive and plain configurations, but their simplified appearance is more related to the forms of modern art and architecture.
Shida KUO, Untitled P 02-14, 2014, Acrylic on Canvas, 122 x 122 cm
VIP Preview: 3pm—10pm, 30 April 2016
Public Days: 1—3 May 2016
Opening Hours: 11am—7pm (3 May until 6pm)
Venue: National Agriculture Exhibition Center, Beijing (No. 16, East Third Ring Road, Chaoyang District, Beijing, China)
Booth B15 in Contemporary Pavilion-Hall 11
Chia Chi Jason WANG’s “Suspension of Consciousness: On the Painting of TSONG Pu” (2009) published on apartment of art.