Page 208 - 亚洲二十世纪及当代艺术

49 黃宇興 b.1975 Huang Yuxing

ೌᕚ€ɓଡ଼Շ΁ Untitled (set of two pieces)
ልΥదҿ ޚᆨ Mixed media on glass
1
ɚ㖼㖼ɞϋЪ Dia 102 cm. × 2. Dia 40 /8 in. × 2
Painted in 2008
ಛᗆ
Huang Yuxing 2008€೥ߠ Signed in pinyin and dated on the
reverse
࢝ᚎ EXHIBITED
2008 ϋ 7 ˜ 12 ˚Ї 8 ˜ 16 ˚d˜රρጳjҷ 12 Jul – 16 Aug 2008, Huang Yuxing solo
ᜊʕٙ͛ն̦™dߎ዗೥఼dɪऎ exhibition Life History in Changing, Red
Ը๕ Bridge Gallery, Shanghai
ɪऎߎ዗೥఼ PROVENANCE
ତԭݲӷɛᔛ࢕ٜટᒅІɪࠑԸ๕ Red Bridge Gallery, Shanghai රρጳ͛ଣኪ࢕ٙӽ྅‘dٜࢰ 103.5 cmdል
Acquired directly by present private Υҿࣘeޚᆨ 2008 ϋЪdʕ਷ྗᅃשርϓʹᄆ
HKD 150,000 – 180,000 Asian collector from the above 222,200 ʩಥ࿆
USD 19,200 – 23,100

Since 2007, Huang Yuxing began to challenge himself by painting Under the Fleeting Shadows, Life Seems Like a Dream
on the reverse side of the glass of a 25 cm diameter IKEA quartz In the side profile portrait, a woman sits upright with a
clock. The cold glass and gloomy ink, accompanied by the ticking determined gazed. Her slender face, curled hair and velvety
of the clock hands behind the artwork, gave rise to When I’m in attire echo with the ink splatter background. The work pays
Need of Love Series. He later expanded his medium to larger glass homage to Sandro Botticelli’s Portrait of a Young Woman from
panels, and the set paintings Untitled with a diameter of over the Renaissance period, exploring the ultimate question of
one hundred centimetres presented at the autumn action are “beauty”. Huang Yuxing’s treatment of the background is even
masterpieces of his works. This unique form of creation was only more delicate, with clear ink textures visible through the spray,
used from 2007 to 2008, and the number of such works is limited, smudging, and ink breaks, while the woman’s hair shimmers
highlighting the rarity of this lot. like flowing gold against her pale skin in the darkness. The
Contemplating Time and Life: The Circle Spinning Across fluorescent red colour that adorns the woman’s head like a
the Ages headdress, floating dust, or bite marks, adds a touch of spirit
Starting from the medieval exploration of the human body, and vitality to the otherwise dark painting and becomes a key
Huang Yuxing depicts figures with limited colours that feature in his future creations.
showcase the characteristics of Chinese ink painting. Through The True Colour of Life
high-contrast colours, viewers are prompted to engage in In the other work, the overall tone is even purer, with the
a “cross-time” dialogue with the characters in the artwork, woman’s face in the centre, resting her chin on her hand,
subtly alluding to the hidden cold violence and oppression tilting her head back with closed eyes, her hair spread out
in contemporary society as they are the counterpart of the like Medusa, surrounding her face. Compared to Caravaggio’s
Middle Ages. This set of circular paintings not only liberates fearsome Medusa, the protagonist in Huang’s painting lacks
the “humanism” of the Renaissance, but also embodies the the terrifying gaze, the clear ink permeates a silky skin tone.
Chinese ink technique of “following the natural way”, fully The just-right blank spaces blend with the ink, making the
reflecting his contemplation on time and life, and death. features vague and sparse fluorescent red colours, making
Originating from the Renaissance period, the “Tondo” painting her more beautiful and innocent. Upon closer inspection,
highlights the centre of the composition, emphasizing the the overlapping and rendering of multiple ink colours create
expression and the chiaroscuro on the character’s face and a harmonious visual landscape, embodying the Chinese
magnif ying the spatial painting’s concept of “form and spirit in one”.
perspective. Advocating “I am a miserable materialist. I hate this fact and
to retain the process of have to admit it.”
painting, Huang Yuxing
adopts a method like draw- { Huang Yuxing
on-film animation, using Through his haunting paintings, Huang Yuxing reveals his highly
thin black ink to outline the sensitive inner self to the world. By giving new definitions
figure and repeatedly shading to legendary figures, he reshapes historical works, inviting
with “gongbi” meticulous viewers to contemplate the eternal cycle of birth, aging,
brushwork. The glass’s sickness, and death amidst heavy and sorrowful life issues.
unique “industrial coldness” It is precisely this deep understanding of darkness during
and agility allows the ink
̔ז͙ఐߕӁ୶‘dذ੹೥̺e˝ؐdٜ this period that laid the foundation for Huang Yuxing’s future
ࢰ 60 cmd1598 ϋЪdНᖯࡐᔜढിᄁߕ colours to flow freely, shaping colourful creations.
ஔ᎜ᔛ mysterious characters.

16 9