In the 1980s, as a student at Lu Xun Academy of Fine Arts, Wang Yigang began his pursue for individuality and self-expression, and adopted Western Modernism in retaliation against conservative art education. After ten years of experimentation with different styles, Wang favored German Expressionism by the early 1990s, which he studied, experimented, but ultimately rejected. By the late 1990s; however, Japanese Post-war art movements caught his attention, particularly Mono-ha and Gutai, which drew upon and expressed Eastern culture on the basis and success of Western Modernist modes. This prompted Wang to revisit Eastern culture, especially Buddhist Chan (Zen) philosophy, which redirected his struggle for individuality toward self-understanding. In this awakening, his internal struggle transformed from against the society to the self, and in self-criticism, he found an abandonment of all conventional painting practices and discovered new meaning purely in the movements of his body during the act of painting. In this way, every artwork became a record of his movements through space and time.
From experimentation, rejection, to self-awareness, Wang Yigang’s art transcends the painterly image, rejects all conventional practices, and ultimately goes Beyond Abstraction.
May 5 – June 2, 2018 Reception: Saturday, May 5, 3:00 pm Hours: Tuesday – Saturday, 2:00 – 6:00 pm
Artistic creation does not happen overnight, even for the most gifted artists it has always been a long process of search and refinement. The Chinese Contemporary Art market’s sudden surge in the last ten years has raised many artists to the state of superstardom; a phenomenon unprecedented in China’s history.
Investor Warren Buffett once said “you only find out who is swimming naked when the tide goes out.” That is to say, only when the art market stabilizes will artists’ talent and worth be clearly revealed. Only those who can withstand the passage of time, as well as the dictates of social pressures and market demand, and find their own place among different currents and trends, will have their names secured in art history. They have come a long way for their standing today, and at the same time, possess full potential for a bolder tomorrow. They are essential to the art world of China and Taiwan, as they are in the prime of vitality.