Solo exhibition Exposé opening on Mar 25 at Galerie du Monde
個展《Exposé 現》將於3月25日開幕

Opening  Mar 24, 6 ~ 8 p.m., 2021
Public Days  Mar 25 ~ Jun 13
Zoom Talk  Mar 31, 8 p.m. HKT
Venue  Galerie du Monde, 108 Ruttonjee Centre, 11 Duddell Street, Central, Hong Kong

HONG KONG – Galerie du Monde is pleased to present a solo exhibition by Wu Chi-Tsung: Exposé, curated by Hong Kong based Ying Kwok. Wu’s work explores light and time, and ways to recreate traditional art forms and aesthetics without losing the spirit. In Exposé, curator Kwok leads us on a journey to discover the correlation between Wu’s Cyano-Collage series and these concepts.

Born in Taipei in 1981, Wu received his BFA in 2004 from the Taipei National University of the Arts, where his training from an early age in the practices of Chinese calligraphy, ink painting, watercolor and drawing were furthered. After decades of creating experimental ink paintings, Wu turned to photography, video and installations to apply his aesthetics in classical landscapes.

Wu created his first Cyano-Collage in 2015, a further development of the earlier Wrinkled Texture series which he started in 2012. Both series explore the process of “recording light” on Xuan paper (Chinese rice paper). From Wrinkled Texture to Cyano-Collage, Wu showed he could somehow manipulate the unpredictable, creating beautiful illustrations of the relationship between man and nature.

Wu began the Wrinkled Texture series with the intention to reinterpret the traditional Texturing method (Cun Fa) of Chinese landscape painting. Instead of using ink and brush, Wu utilizes a classical photographic technique – Cyanotype, to treat his Textures. Wu first soaks the Xuan paper with a photosensitive solution, and then exposes them to sunlight for 30 minutes, while at the same time crumbling and shaping the paper into various forms and wrinkles. This exposure process is random and uncontrollable as the light intensity and the sun’s angle is different every day, at every hour.

cyano-collage 094
Cyano-Collage 094 will be exhibited at Exposé
《氰山集之九十四》將於《Exposé 現》中展出

The paper is then flattened and washed in a water tank in the studio for an hour to fixate the exposed textures. This is the most intriguing part of the entire process, as it is the moment when Wu sees the outcome – the different textures and possibilities. The treated paper becomes a record of time, light, and human gestures that is marked with folds and different shades of blue.

One out of dozens of treated Xuan paper is selected by the artist. At the beginning, Wu was focused on creating a dialogue with traditional Chinese landscapes. Thus, in that period, Wu selected images that remind him of classical landscape paintings by Chinese masters. Gradually, Wu developed other references – real life landscapes, nature, or abstract paintings. It could be anything. As Wu’s practice evolves, his imagination of this series of works transforms.

Rather than limiting himself to a single sheet of Xuan paper and uncontrollable compositions, Wu discovered a new way to create his imaginary scenery on a bigger scale through experimental collages. Each Cyano-Collage is composed of many pieces of Xuan paper, individually pasted onto the canvas by Wu, and then sealing each layer with acrylic gel before adding a new one. Sometimes, Wu adds plain white Xuan paper to create depth or to erase part of an image, leaving large areas of blank space in order for the subject to leap from the painting – this is one of the most important techniques in traditional Chinese painting, termed “Liu Bai”. Wu then finishes the painting with a UV-protection varnish for long-term preservation.

Xuan paper, also known as Chinese rice paper, is a very unique medium. Compared to drawing paper or watercolor paper, Xuan paper is much thinner, more absorbent and versatile. Hence, the artist could make lots of textures through repeated crumbling. Over the past decade, Wu has studied and experimented with several dozen types of rice paper, from different origins, with varied thickness, textures, and paper making process. Wu has saved all these testing papers in his studio, and he revisits them from time to time to “read” them again and find new inspirations. A selection of these raw materials will be presented to the public for the first time in Exposé.

Exposé, the second solo exhibition of Wu Chi-Tsung at Galerie du Monde, unveils the complicated and unpredictable process behind his Cyano-Collage through an immersive viewing experience. Whether it is a painting, an installation or a video, there is always a transparent aspect in Wu’s work. It is this honesty that is so inviting, allowing for such powerful bodies of work to be fully experienced by the audience. Wu’s practice also inspires us to carry on traditions and recreate new readings of classical techniques and aesthetics. Ancient or contemporary, they shall continue to cross-pollinate and together grow into a new realm.

On Mar 31st, an online artist talk was held between the artist and curator Ying Kwok when the duo shared their first meeting at the Centre for Chinese Contemporary Art in Manchester back in 2011, and how they brainstormed, developed and presented this new project together at Galerie du Monde.

開幕  2021年3月24日晚6~8時
展覽日期  3月25日~6月13日
線上對談  3月31日晚8時
地址  香港中環都爹利街 11 號律敦治中心 108 室 世界畫廊(Galerie du Monde)

香港 - 世界畫廊(Galerie du Monde)將舉行台灣藝術家吳季璁於香港的第二場個展「現」。策展人郭瑛將引領觀眾揭開《氰山集》背後既繁複又偶然的創作過程,探索吳季璁與時間和光線之相搏鬥、磨合與交融的靜態作品。對吳季璁而言,光是他創作中的催化劑,而時間則是他的暗房。他以「時光」為手段,探索東西方傳統技法和媒材的可能性,以當代的視角延續中國水墨的美學精神,創造出連接不同文化、過去和現在的獨特藝術語言。

1981 年生於台北,吳季璁從小便兼具傳統書畫與素描水彩的藝術養成,於 2004 年畢業於國立臺北藝術大學。骨子裏受東方傳統美學影響深刻,多年來堅持實驗水墨藝術,大學時期開始探索攝影、錄像及機械光影裝置等新媒介,去微觀宏偉的山水詩意。

氰山集》於 2015 年面世,此系列作品源於吳季璁於 2012 年開創的《皴法習作》,發想自水墨畫中的「皴法」概念。皴法是傳統中國文人繪畫中的核心技法,以書法的筆墨精神,對山石紋理概括描繪,畫家藉此投射個人內心的山水景物,寄情其中。吳季璁以宣紙為媒介,運用古老的氰版攝影沖印技術藍曬法替代筆墨。



wrinkled texture 097
Wrinkled Texture Series 097 will be exhibited at Exposé
《皴法習作之九十七》將於《Exposé 現》中展出

經過三年對宣紙和藍曬法的研究,吳季璁於 2015 年創作出第一件《氰山集》作品,擺脫了畫面大小的局限和佈局的偶然性,將曝曬過後的紙張在畫布上拼貼成叢山萬嶺景象,進一步探究傳統繪畫的美學。宣紙質感柔薄,可讓吳季璁隨心貼附在畫布或木板上,用刷子刷平,再塗上五、六層壓克力膠進行固定。每次加上新的一層紙,吳季璁都會加進白紙,以中國傳統繪畫中的「留白」技法來調整構圖。最後,吳季璁會在畫面塗上防紫外線的保護漆。




Installation Views 展覽現場

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Media Coverages 媒體報導

10 Must-See Art Exhibitions In Hong Kong In April 2021, Tatler Hong Kong, April 2, 2021

A Comprehensive Round-up of the Best Art Exhibitions to Visit this Month, Lifestyle Asia, April 8, 2021

Art of Chance and Coincidence, *CUP, April 1, 2021

Time, Light, and Experiment, OBSCURA Magazine, April, 2021

On the Limitless Imagination in Wu Chi-Tsung’s Interdisciplinary Arts,, May, 2021

Beneath the Surface: Wu Chi-Tsung, ArtAsiaParcific, June, 2021