Lin Pang-soong, Silent Sound of the Mountain: Atmosphere, 2013
Lin Pan-soong, Silent Sound of the Mountain: Etude, 2013
Lin Pang-soong, Gathering Stones, 2016
Lin Pang-soong, Quiet Reflection, 2011
In 2007 Lin (Apex) Pang-soong was awarded the National Award of Arts in the Fine Arts category, as the youngest recipient of the Fine Arts category as well as the first designer to in the award’s history. In his early years, Lin’s choice of vocation in design was a different path, and he recalls, “it was not an easy path, but it allowed me to see a different perspective in life; and because those who went down this path are few, I have the food fortune of being recognized.”
At halfway to a hundred, Lin met a fork in the road and shifted more time and energy towards his painting, which was another different path, and also one of great change. His success in the field of design plays both positive and negative roles on his art; he is driven by his reputation, which can sometimes be a burden. Fortunately, he has the spirit of the sea, in which “the sea encompasses a hundred rivers, it is great because of its capacity,” thereby encouraging him to forge another path.
Since his youth, Lin Pang-soong firmly walked his own path. From design to painting, he found endless inspiration and the sense of belonging in his native land. Like steady continuous drops of water piercing through stone, Lin’s adherence to his approach to painting, is in itself a form of art.
As Xiong Wei’s mind wonders deeply into the realm of metaphysics, in either Chan (Zen) Buddhist teachings of Emptiness or Taoist Non-action, her landscapes transcend into total abstraction and brutal minimalism. All forms of traditional symbolism and linear representation is forgotten and left behind. There is only evidence of space and time, left by the artist’s brush. While the formal qualities of her so-called landscapes have dramatically changed, the spirit behind the image remains unaltered. Like Song Dynasty (960 – 1279) artists, Xiong Wei seeks to address philosophical concerns within the boundaries of her canvas, in which the painted image appears as enigmatic as that of the ancients before her, leaving only traces of her mind to be deciphered.
June 3 – July 1, 2017 Reception: Saturday, June 3, 3:00 pm Hours: Tuesday – Saturday, 2:00 – 6:00 pm
Liu Kuo-sung, A Man of East, West, South, and North, 2016
Liu Kuo-sung, White Snow is White, 2016
Liu Kuo-sung, Cliffs, Rocks, Mist, 2016
Liu Kuo-sung, Loftiness, 2016
Liu Kuo-sung, Universe in My Mind, 2016
Liu Kuo-sung, Quiet Night, Snowy Mountain, 2016
Loftyart Gallery is proud to finally present the third series of Liu Kuo-sung Prints. Featuring lithography, woodblock, etching, and silkscreen printmaking, in a set of ten prints, this is the final series in Loftyart’s autographed handmade limited edition prints by Liu Kuo-sung. Since working with Liu on the first two series, the printmakers have further perfected their techniques and took on greater technical challenges in the third.
As the last and final series, Loftyart Gallery has worked together tirelessly, making the best finishing touches to this monumental project. In terms of the initial section of images, Loftyart Gallery selected from Liu Kuo-sung’s long and impressive oeuvre, most important and defining artworks, many of which belong in museum collections. The images are then recreated with the distinct painterly qualities of printmaking, while faithfully preserving the spirit of Liu’s original artwork.
The art of Liu Kuo-sung’s prints not only lies in the greatness of the original composition, but also in the distinct characters of printmaking incorporated by the printmakers, in their artful recreation the artworks. Visiting the printmaking studio time and time again in the last three years, Liu Kuo-sung’s kind guidance, thoughtful demonstration, and warm communication with the printmakers, making corrections and additions on every test run, has given Loftyart Gallery the pleasure and honor to produce three outstanding series of autographed handmade limited edition prints, ultimately setting new standards in the field of contemporary printmaking, as well as promoting Liu Kuo-sung’s spirit and contributions in Modern Ink Painting.
Lin Pang-soong January 14 – March 5, 2017 Fo Guang Yuan Art Gallery, Taichung March 18 – April 23, 2017 Fo Guang Yuan Main Art Gallery, Kaohsiung
Lin Pang-soong, Outside Radiance, 2016
Lin Pang-soong, Mountain Fans, 2016
Lin Pang-soong, Complete Freedom, 2016
Lin Pang-soong, A State of Being, 2016
Lin Pang-soong, Fascination of Rocks, 2015
Lin Pang-soong, Rocks Below the Water, 2015
Lin Pang-soong, Desert Rose, 2016
Lin Pang-soong, Spring Cometh, 2016
Lin Pang-soong, Peace & Joy, 2016
2007 winner of the National Awards of Arts by the National Culture and Arts Foundation, Lin (Apex) Pang-soong was the youngest recipient of the Arts category in the award’s history, at the age of fifty. Over the years, Lin often finds himself repeating the words “dot by dot,” as a way of self-encouragement through his meticulous series such as My Homeland, Island of Dreams, and Homebound Letters working with the image of Taiwan through pointillism. Lin consciously returns to the most foundational element in painting, the dot, and voluntarily invests his time and energy in piecing together the composition one dot at a time. Slowly and steadily like the beating of a drum or chanting of a sutra, Lin’s painting thereby crosses over into a form of meditation, where Lin develops a new and profound understanding of simplicity, such that a simple act, through repetition becomes great; and a great act, through repetition becomes simple.
Since 2007, Lin Pang-soong’s decade-long commitment to pointillism and the image of Taiwan has allowed him to harvest creative nourishment and cultural roots from his native land. So in facing his art, Lin is free and at ease, and through the thousands of intricately placed dots, the viewer captures a glimpse into Lin’s state of being.
Fo Guang Yuan Art Gallery, Taichung 65 Huizhong Road, Taichung January 14 – March 5, 2017 Reception: Saturday, January 14, 2017, 3:00 pm Hours: 10:00 am – 7:00 pm
Fo Guang Yuan Main Art Gallery, Kaohsiung 153 Xingtian Street, Kaohsiung March 18 – April 23, 2017 Reception: Sunday, March 19, 2017, 10:00 am Hours: 9:00 am – 5:00 pm
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.