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Top Spring Selection II from Linda Gallery			Web Version

TOP PICKS II FOR SPRING 2016

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Wu Shaoxiang

(Jiangxi Province, China, 1957)

The artist Wu Shaoxiang has chosencoins and dollars for his sculpture. The cins were in Austria coins closely related to his overseas experience and the US Dollars as “hard currency” in the globe market. He strongly believed that by using coins and dollars to create the artwork , it coud create an impact to the society as he wants to convey the message that “money “ has played a critical role in popularizing thsee “western images” worldwide, which was so-called “correctness of money”. The political history of the late 20th century provided artists rich narrative sources, especialy for the Chinese artists. They combne the two narratives of the capital and the consciousness together and create even more paradoxical and dislocated narratives. Wu Shaoxiang’s works is a good example. Although being straightforward, Wu’s works are never detached from the expressivesness of the sculpture medium. The works consistently try to express an underlying subject, which is “desire” and “power”, a social theme that Wu Shaoxiang has focused on in the last 20 years.

Apple , 110x100x100cm , Bronze , Unique , 2008 , USD 95,000

Chen Liu (Kunming, China, 1973)

Blue Car , 160x90cm , Oil On Canvas , 2014
SGD 33,000

Blue Lake , 160x80cm , Oil On Canvas , 2015
SGD 30,000

Chen graduated from the renowned Tsinghua Fine Arts Institute in Beijing in 1996. He is currently employed as a professor of the Yunnan Academy of Fine Arts .Chen Liu is a hyper-realistic surrealism painter whereby he utilizes pop surrealism as the primary means of expressing himself. Chen Liu takes inspiration from video games, American comics and Japanese manga. His works of art has since been extensively exhibited around the world whereby his works is characterized by twinges in caricature portraying his subjects with dramatization have captured many playful aspects and tickles his viewers’ funny bone.’ Chen Liu’s work is unique and becomes pop surrealism with the significance of Chinese culture. Liu adopts his interest from the classical Chinese folk tales such as Romance of the three kingdoms; he sees fringes of reality that interplays in the lives of many. Liu view his works as an extremist of beauty, a grotesque video game and no one has ever played before.

Through his art, Chen is seemingly portraying a contemporary revolution of traditional Chinese ink paintings. He is enabling his viewers to visualize a ride of contemporary art reigning above the traditional artworks and as to how present time have revolutionized the much-respected traditions. Chen’s works of art is filled with humour, inference of history and art, hyper realistic painterly skill and intricate details is undoubtedly one of the top notched contemporary artwork of our present time. Chen Liu’s work stands out in the cartoon generation not because he is more imagination or the world he has created is more fancy but because his works make full sense of the cultural constraints and resources making his art even more special. In his work, there is elegance and commonality, just as there is light hearted illusions juxtaposed with highly serious topics. Chen Liu’s art is unique as the artist manages to find a balance in the conflicting realities of the east and the west, the ancient and modern.

Zhu Wei

(Beijing, 1966)

This implied quality is belied by the imaginative use of traditional techiques.the firm use of outlining asserts their existence and background texture that evokes old silk surfaces,shows through their fleshless faces.but it also creates dimension,lifting off the traditional flat plane of the painting's surface.Recognised as a leading contemporary Chinese artist,Zhu Wei's art is his diary of experiences and perspectives on modem society.combining modern symbolism and classical anecdotes,Zhu Wei captures moments of triumph and trauma within China's modem history.

China China, 170x90x50cm, Fiberglass,USD125,000

SP Hidayat

(Indramayu,Indonesia, 1969 )

S. P. Hidayat (b.1969) graduated from Institute Seni Indonesia (ISI), Yogyakarta in 1996. His choice of style is quite different from the style which is favored by his peers, who are generally in imbued with the enthusiasm for a trend rich in the theme of continuously connected with social, political and economic issues through presentation of forms inclined towards being illustrative with verbal and sometimes sarcastic narration. Hidayat’s art relies on the spontaneity of emotion and the visual elements manifested vaguely represents the artist’s inner life. He makes it a paramount principle that his paintings are not only about the objective representations of his subjects, but also the complexities and secrecies of their human condition.

Pulang Panen, 145x200cm, Oil on Canvas, 2010, SGD17,000

Li Zhangyang

(Changchun, Jilin province, China, 1969)

Li Zhanyang’s sculptures convey the power of Populism that the past commemoratory sculptures have not. The essence of Populism is anti-commemoratory and anti-heroic. But it isn’t cynicism. Because the cynicism is intellectual escapism, laughing at oneself. And populism has simple primitiveness and healthy living- consciousness. Although populism originates from mass culture, its essence is grass roots culture. It doesn’t belong to the popular culture such as exquisite Hollywood culture and it is the culture of people’s livelihood. The system of Li Zhanyang is nativism, naturalism and life-ism. From the angle of theory, it is anticenter, antiauthority and anti class-distinction. Just like,” open the door to welcome the king, but don’t pay tax when the king comes.” Therefore, it equals to populism. His simple equalitarianism overthrows and destroys all the authorities. When all goes to all, populism is not philosophy or theory, but a value judgment to experience. In recent society, we can see populism everywhere. Especially, China has changed a lot, which leads to polarization of poor and rich, so the consciousness of people’s livelihood and civil liberties. But the populism in the art is still extremely rare. Because the modern art doesn’t belong to populism in its identity and it has nothing to do with ideal in the mass. Li Zhanyang’s realism led by this populism ideal has some distance with different kinds of social realism in China 20 years ago, and it also has some distance with popular art of the day.