Exhibition Beijing

Wu Qiang"Nature Nourished Soul"
2017.7.22(sat) - 2017.9.2(sat)

Tokyo Gallery +BTAP (Beijing) will host Wu Qiang’s solo exhibition Nature Nourished Soul from July 22 until September 2, 2017.
Wu Qiang, who goes by the style name of Run Song, was born in Changting County, Fujian Province. His ancestral home is Putian, Fujian Province. In 2000, Wu Qiang graduated with a Bachelor’s degree in landscape painting from the Traditional Chinese Painting Department of the China Academy of Art (Hangzhou). His graduation work entitled Valley Enshrouded in Clouds was awarded the prize for most outstanding graduation artwork. He then went on to receive the school’s Chongli scholarship as well as the honor of having his work added to the school's permanent collection. In 2003, he took part in the second edition of the National Exhibition of Traditional Chinese Painting with his work entitled Desolate Mountains After the Rain, receiving honorable mention. In 2005, the artist graduated with a Master’s degree in landscape painting from the Traditional Chinese Painting Department of the China Academy of Art. He is currently a lecturer at the Arts College of Zhejiang University.
This exhibition will showcase 43 works that were painstakingly created by the artist over the past 3 years. Wu Qiang’s ink wash paintings are done in a scrupulous and meticulous style. He evokes an artistic mood of seclusion and mystery. Through turquoise hues, precise brushwork and elegantly applied colors, the works become endowed with subtle gradations. The artist does his utmost to retain a traditional appeal, whether in his brushwork technique, his use of patterns or his positioning of the elements that make up the work. He lays great stress on constructing an artistic mood, without belabored use of metaphorical imagery or annotated definitions in the sidelines. He’s innovative, without purposely altering time-tried methods and techniques. Through purely objective depictions, the artist has managed to convey his very own aesthetic orientation and ideal realm.
A general survey of the history of Chinese painting shows that new ink wash painting artists use techniques originating in the Tang- and Song-dynasties. Such techniques fell from grace during the Ming- and Qing-dynasties. Over the past few years, a younger generation of artists has showed a renewed concern for Chinese painting techniques, from which has sprung the New Ink Movement. An important catch, however, is that most artists are only concerned with the technicalities of painting, meanwhile turning a blind eye to the ideological content. Their works, though highly vivid at first glance, end up looking repetitive, rigidified and devoid of novelty, as if having met a dead-end.

In such a creative environment, Wu Qiang’s works are endowed with a certain originality. He fully grasps and incorporates the thought processes and techniques of his predecessors, without aiming to impress with technical ingenuity. Instead, the artist leaves behind all practical interests of this bustling, cacophonous world, and is more concerned about inner peace. He’s in pursuit of a lofty artistic conception, meanwhile making adaptations that suit our current age. As a result, while still in keeping with tradition, his artworks possess a far more contemporaneous and literary character. Throughout his continuous build-up of inspiration, Wu Qiang has remained in a league of his own, owing to his distinctive style of works, as well as his profound and far-reaching artistic conception.

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