Xue, Xing-Biao Solo Exhibition_2015.05.28-2016.07.24
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The Spirit of Abstract Freehand Brushwork
Xue, Xing-Biao’s paintings have become as refined and elegant as the artist’s life. Travelling around and sketching in the open air, his early years primarily focused traditional realistic painting. From the freehand brushes in the1970s to the immersion of darkening figures into his backgrounds in the 1990s, his paintings have transformed from concretization into abstraction, leaving the space of association to the viewers. During Xue’s stay at Nagoya University as a visiting scholar in 1995, he tried to create "abstract within images”, engaging in vigorous brush strokes and graphics play. He has integrated the freestyle expression into the representation of images in abstract art, reaching a semi-abstract freehand spirit of art.
Abstract is the intrinsic property and sublimation of concretization. It takes mood and charm for the heavenly frame of art. Xue mentioned that Xie-He placed “vigorous Chi” in the first place in his essay Theory of Six Principles of Painting. “Chi”, expounded as the vitality of the universe in ancient Chinese culture, as well as “Yun”, the metaphor of melody in harmony, have revealed the spirit of painting as a visual art: vivid, harmonious, refreshing and sweet-sounding.
In Xue’s impressionistic realm, the artist takes a wider view with great momentum: freehand brushes strive for simplicity and avoid the minor minutia in the pursuit of Chi and Yun. Through the cadence of strokes, he smoothly transforms conception into shapes. With the simplest figures and elaborate complexity, Xue has created a “second nature” above the real realm. The signifying vastness is exactly the oriental artistic embodiment of Chi.
The intangible should reveal the nature of existence better than the tangible. Without limitations of time and space, implicitness lives beyond reality.