Liu Kuo-sung, Chiang Li-hsiang, Hsu Hisu-lan, Wu Pui-wah December 31, 2016 – January 28, 2017
Liu Kuo-sung, High Noon, 2015
Liu Kuo-sung, Roof of the World, 2014
Chiang Li-hsiang, Andante Cantabile, 2015
Chiang Li-hsiang, Feeling of Fall, 2016
Chiang Li-hsiang, Leisurely Flight, 2016
Hsu Hsiu-lan, Song of Cold Mountain No. 86, 2016
Hsu Hsiu-lan, Sound of Water No. 32, 2016
Hsu Hsiu-lan, Song of Cold Mountain No. 88, 2016
Wu Pui-wah, Leaping of White Lines Series No. 79, 2016
Wu Pui-wah, Leaping of White Lines Series No. 73, 2013
In 1957, Liu Kuo-sung founded the Fifth Moon Painting Group in Taiwan, to promote Modern Art and the modernization of Ink Painting. Due to his effort to revitalize traditional Chinese painting, Liu has since been honored as the Father of Modern Ink Painting.
For the second annual Ink Asia, Loftyart Gallery proudly presents From the Fifth Moon Rising – New Ink Painting in Taiwan, featuring in addition to Liu Kuo-sung, three of his proud students, Chiang Li-hsiang, Hsu Hsiu-lan, and Wu Pui-wah. Inspired by Liu Kuo-sung’s leadership in the Modern Ink Painting movement, the trio sought his tutelage and dedicated themselves to the cause. Despite sharing the same teacher, each student have developed her own personal style: Chiang Li-hsiang’s rhythmic juxtaposition of white and black lines reflect optic phenomenons; Hsu Hsiu-lan’s command of techniques such as rubbing and staining brilliantly outlines mountain ranges through solids and voids; Wu Pui-wah’s effective use of Liubai or negative space and subtle transitions of colors reflect her keen understanding of the four seasons.
In addition, the exhibition features Liu Kuo-sung’s autographed handmade limited edition prints produced by Loftyart, in woodblock, etching, lithography and silkscreen prints. These handcrafted prints are not only state of the art in terms of printmaking itself, they also brilliantly capture and recreate the spirit of Liu’s original artworks.
In observing Guo Kai’s paintings, the exquisite brushstrokes, graceful curving lines, elongated horizontal movements, and seemingly monochrome colors constitute a personal and elegant landscape. The tranquil atmosphere presented by his paintings, allows the mind of the viewer to quickly settle, and thereby invites the viewer to enter the scenery of the painted image, into the midst of the gentle sun, the misty air, the freshness of fields, and the temporality of historic buildings. The ability of creating such a vivid experience for the viewer lies in Guo Kai’s carefully articulated images, his unique interpretation of color, and his proficiency with brushwork and the application of texture, as well as the deconstruction and reconstruction of architecture within the landscape.
Guo Kai’s genres of painting can be identified as pastoral landscapes and architecture. He implements animated organic lines and intentional artificiality to create an individualistic and highly distinguishable mode of landscape painting. Under Guo’s brush, the animated lines seem to have an inherent will of their own, spreading sporadically across the canvas, leaving a sense of energy and dynamic movement in the composition. The source of the energy comes from the subject matter itself, that is the natural scenery, embodied in the grass, flowers, and trees, and more the notion alludes to a core value in traditional Chinese landscape painting.
Unveiling the layers of meaning behind Guo Kai’s works, one discovers a sense of timelessness in his less-than-figurative portrayal of pastoral landscapes and architecture, as well as his sentiments on the state of being of these subjects. These carefully articulated images, ridden of all traces of human presence, ultimately reveal Guo Kai’s idealized inner state of mind.
Lin Pang-soong, Silent Sound of the Mountain: Atmosphere, 2013
Lin Pang-soong, Silent Sound of the Mountain: Etude, 2013
Lin Pang-soong, Rising Clouds, 2013
Lin Pang-soong, Mountain Light, 2013
Lin Pang-soong, Splendid Colors, 2014
Lin Pang-soong, Central Cross-Island Highway, 2014
Lin Pang-soong, Homebound Letters, 2016
Lin Pang-soong, Rising Wind, Surging Cloud, 2016
Mapping each and every image with millions of needle-like dots of ink, Lin (Apex) pang-soong forgoes the conventional use of shades and contours, and reconstructs lines and planes with the accumulation of tiny dots. Playing on the viewer’s natural indication to connect the individual dots into coherent images, Lin substantiates the virtuosity of his art.
Reinventing the visual technique of pointillism with elements of ink and wash, Lin Pang-soong debuts a bold new series, Invaluable Mountains, which contemplates the relation between Taiwan’s “position” and “spirit.” Lin believes, great or small is only a matter of perspective. Although Taiwan occupies a small position on the globe, Taiwan’s international presence stands large and tall. In terms of cultural diversity and innovation, Taiwan possess a great and unyielding spirit.
Constantly traveling the world, promoting Taiwan’s design on the international stage, Lin Pang-soong is a restless pioneer in the world of Taiwan’s design. However, in painting, Lin adheres to the virtues of steadfastness and perseverance. With unadorned shades of black and white, and clusters of tiny dots, Lin sweeps across the paper in a slow rhythmic trance, leaving an articulated field of meticulous ink dots, thus revealing his idealized inner world of Taiwan’s Invaluable Mountains.
April 9 – May 10, 2016 Reception: Saturday, April 9, 2016, 3:00 pm Hours: Tuesday- Saturday, 2:00 – 6:00 pm
Chiang Li-hsiang, Lien Yu, Hsu Hsiu-lan, Wu Pui-wah, Chen Yi-fen February 20 – March 16, 2016
Chiang Li-hsiang, Valley of Fresh Greens, 2014
Chiang Li-hsiang, Deep in Water and Clouds, 2014
Lien Yu, Succeeding Songs, 2015
Lien Yu, Flow, 2013
Hsu Hsiu-lan, Landscape Series, 2015
Hsu Hsiu-lan, Sound of Water Series No. 22, 2015
Wu Pui-wah, Leaping of White Lines Series No. 68, 2015
Wu Pui-wah, Leaping of White Lines Series No. 70, 2015
Chen Yi-fen, Dream Walker, 2014
Loftyart Gallery proudly presents five distinguished artists of Modern Ink Painting: Chiang Li-hsiang, Lien Yu, Hsu Hsiu-lan, Wu Pui-wah, and Chen Yi-fen. The five artists have engaged in Modern Ink Painting for over twenty years, four of which are bachelors or masters of Fine Arts from National Taiwan Normal University. Starting from traditional Chinese painting, the artists also have firm foundations in Western painting. For example, Chiang Li-hsiang studied Western painting under Liang Dan-fong from 1970, and Wu Pui-wah entered the Lingnan School of Chinese Painting in 1985. In their years of painting and pursuit for innovation and change, they met the pioneer of Modern Ink Painting, Liu Kuo-sung in a matter of fate, and honored him as their teacher.
Despite sharing the same teacher and mentor, the five artists each strive to develop their own style. Chiang Li-hsiang sets natural rhythmic white lines against solid black lines; the contrasts creates a bold rendering of natural light. Lien Yu takes Eastern thought as the basis of her painterly experimentations, thereby constructing an unique personal style of Modern Ink. Hsu Hsiu-lan utilizes innovative techniques such as “Ink-rubbing” and “Ink-staining,” in layering the faces of mountains in respect to the contrast of light and dark. Wu Pui-wah uses the effect of liubai, or negative space and the balance of dark, light, thick and thin colors in representing her artful perception of the natural world. Chen Yi-fen holds her concept of altering the composition as the painting unfolds, and employs a rich display of colors and lines; she ultimately searches for the delight of inkplay between likeness and abstraction.
Hung Yi, Tuantuan & Yuanyuan, 2015, Yanqi Lake, Beijing
Hung Yi, Swan, 2015, Yanqi Lake, Beijing
Hung Yi, Swan, 2015, Yanqi Lake, Beijing
Hung Yi, Dachshund, 2015, Yanqi Lake, Beijing
Hung Yi, Three Little Pigs, 2015, Yanqi Lake, Beijing
Hung Yi Has become the leading Taiwanese sculptor in recent years, exhibiting at the Hakone Open-Air Museum in Japan in 2013 and at San Francisco’s City Hall in 2015. Following the recent exhibition at the National Taiwan Museum of Fine Arts in Taichung, Hung Yi has set his path on Mainland China, starting with Beijing; specifically, the stadium at Olympic Green, the Yangqi Lake International Convention and Exhibition Center with the APEC summit was held, as well as Ditan Park, also known as the Temple of Earth. This touring exhibition across Beijing marks Hung Yi’s first exhibition on the mainland, and is a joint collaboration between Guilin Yuzi Paradise and Loftyart Gallery.
Olympic Green, Beijing Olympic Village Street, Chaoyang District, Beijing January 1 – February 29, 2016
Yanqi Lake International Convention & Exhibition Center, Beijing 16 Yanqi West Road, Huairou District, Beijing January 1 – February 29, 2016
Ditan Park (Temple of Earth), Beijing Andingmen Outer Street, Dongcheng District, Beijing February 8 – 12, 2016
Liu Kuo-sung, The High Tide of Qiantang River, 2015
Liu Kuo-sung, Purple Sun, 2015
Liu Kuo-sung, Mid-Autumn Festival, 2015
Liu Kuo-sung, Floating Mountain Peak, 2015
Liu Kuo-sung, Spring of Old Banyan, 2015
Liu Kuo-sung, Mountain Light Blown into Wrinkles, 2015
Liu Kuo-sung, Pressing on the Brow, 2015
Liu Kuo-sung, Light Snow, 2015
Liu Kuo-sung, High Noon, 2015
Liu Kuo-sung, Early Spring, 2015
Respected as the Father of Modern Ink Painting, Liu Kuo-sung has passionately promoted modern ink painting with religious zeal. Liu’s faith is art, and modern ink paintings are his scripture. Over the last sixty years, Liu has journeyed around the world in art exhibitions and academic seminars, bringing his scripture wherever he went in the true spirit of a missionary.
In his youth, Liu Kuo-sung was once slandered as a traitor to art. He challenged both conservatives of traditional Chinese ink painting, as well as blind followers of modern Western painting, and instead forged his own path. With modern ink painting on the rise, Liu has finally been recognized for his contributions to the genre. Liu’s artworks have since entered the spotlight of the art market, and have become exceptionally difficult to acquire.
In order to continue promoting Liu Kuo-sung’s art, and also to share his achievements with more art lovers, Loftyart Gallery decided to produce a series of autographed handmade limited edition prints. The prints are to become a missionary’s scriptures, for sharing with the world. This notion is recognized by Liu himself, and under his authorization, supervision, and kind guidance, Loftyart commissioned a professional printmaking studio to create a series of ten prints in woodblock, etching, and silkscreen prints, and received critical-acclaim upon the prints’ release in late 2014.
In 2015, we are proud to present a second series of ten prints, featuring lithography in addition to woodblock, etching, and silkscreen printing. We believe that the prints, with strong support by Liu Kuo-sung, will not only help art lovers capture the spirit of Liu’s original artworks, but also share with them the art of various types of printmaking.