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TOP PICKS II FOR SPRING 2016
Linda
Gallery would like to invite you to visit our gallery for private
viewing. Please do contact us at =65 64767000 or info@lindagallery.com for
more details.
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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.
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Apple ,
110x100x100cm , Bronze , Unique , 2008 , USD 95,000
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Chen Liu (Kunming, China, 1973)
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Blue Car
, 160x90cm , Oil On Canvas , 2014
SGD 33,000
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Blue
Lake , 160x80cm , Oil On Canvas , 2015
SGD 30,000
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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.
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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.
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China
China, 170x90x50cm, Fiberglass,USD125,000
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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.
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Pulang
Panen, 145x200cm, Oil on Canvas, 2010, SGD17,000
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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.
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Christ in Huangjueping City, 250x150x70cm, Bronze,
2006, Edition 1/4, SGD150,000
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