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YANG XUN:Pictures of a Micro Garden

Opening:  17:00 - 20:00 · 2019.12.4

Dates:  2019.12.4 - 2020.1.12 

 

 

Beijing-based artist Yang Xun’s solo exhibition "Pictures of a MIicro Garden" opened on the 7th of December 2019. Comprising newly completed "photographic paintings", the show is scheduled to end on the 12th of January 2020.  

 

Yang Xun attempts to challenge the boundaries between reality and illusion in his oil painting creation. Questioning the authenticity of photographic moments, Yang Xun uses painting to complete the experience of timeliness and perception that photography could not replace. What Yang Xun tries to achieve is not only to record the pleasure of that moment on canvas, but also to experience the entanglement of painting in depicting the essential content of real things, so that painting could not be replaced by photography, emphasizing the point of confusion between photography and painting. 

 

The brightness in the new works for this exhibition has been enhanced while the contrast weakened. The gradual change and fusion of various subtle colors highlight a part of the micro garden that seems to be shrouded in mist. The "bright" works make the audience feel "unclear" and "impenetrable". They also  continue to keep a distance between the works and the audience, creating a state of self-confusion and misty flickering uncertainty.  

 


 

 

 

 

 

 

"Micro" represents the universe. There are gods in the micro! Not to express the whole, but to use the secrets of the parts to drive the imagination.

 

The change from the macroscopic view of visiting the garden to the observation of the microscopic objects is just like that when visiting the garden, the perspective will be attracted by a point in time, an indescribable sound, a beam of sunshine sprinkled on the lake or the stone. This corner of the scene is fascinating enough to forget the existence of time.

 

The objects Yang Xun chose to depict were all objects that ancient scholars loved to express: stone, bamboo, winter sweet, orchids, daffodils, magnolia, and water. Some of the forms such as folding branches was also borrowed from the composition of the ancients, which was chosen to look back at the tradition. The reason for this was to start from the present, to examine oneself, and to make a timely response with these elegant things of literati that seemed to have nothing to do with the present. Slowly understand this stone, a bamboo, a winter sweet brought feelings, texture, meridians, growth, smell, temperament, slowly letting one immersed in. For Yang Xun, invisible light needs to be projected onto something to be visible. As a kind of watching and guiding, light is a subjective setting, forcing the viewer to follow the structure set by the artist to watch a work. When the viewer’s vision walks along with the artist’s setting, they participate in it from the visual to the psychological, thus achieving a co-creation.

 

The images depicted are glowing, radiating spiritual light. Bamboo is shining, flowers are shining, stones are shining, everything is shining. Light represents the origin and growth of everything. In addition to the luminescence of the object itself, the source body in space-time is also drifting away. Each dot of light represents a point in time, "one moment at a time", and the "moment" in front of it contains "past, present and future". The observation of the viewer represents the moment that no longer exists. This moment is a synthesis of all time lines, including the memory of the past and the vision of the future.

 

Point light source is a computer software artificial tool. This false, artificial light represents a false eternity. The artificial arrangement order of bamboo represents an infinite superposition of energy. The viewer may not see the beginning of things, nor feel the end.

 

Yang Xun’s works include his memory of how the traditional literati expressed things, his experience of the artificial society reflecting his own body, and his real experience of the micro world. The fusion of memories, experiences and feelings in this instance makes it hard to tell whether this is reality or a dream. The elements of the picture create a situation like an illusion. This mysterious, ambiguous illusion is real and illusory. Like the critical point of a dream is not a dream, this critical point reached an imaginary eternity.

 

 

 

 

 

 

Yang Xun was born in China in 1981. Graduated from Sichuan Academy of Fine Arts in Chongqing in 2005 with a B.A. in oil painting. Currently, he lives and works in Beijing.

 

The relationship between Yang Xun’s painting and tradition is numerous but rational and restrained. Gardens, opera characters, rockery, running water, and recently flowers, bamboo are among the subjects of his works. Yang Xun’s creation focuses on "New Oriental Aesthetics", attempting to challenge the aesthetic tradition from different perception and perspective.  

 

Yang Xun’s recent solo exhibitions include: "Pictures of a Micro Garden" (Shanghai), "Nimbus" (Beijing), "A heart fire" (Taipei), "Jing·Qi" (Beijing), "Garden" (Beijing), "Amnesia" (Beijing, Singapore, Malaysia), "That moment and that light" (Seoul, South Korea), "Jing Meng" (Beijing); etc.  Yang Xun’s works have exhibited in art museum, such as Asian Art Museum in San Francisco, MoCA in Moscow, Asian Art Museum in Nice, France, Czech National Art Museum, Santa Monica Art Center in Spain, Indonesian National Art Museum, Fukuoka Asian Art Museum in Japan, Today Art Museum in Beijing, etc. 

 

Yang Xun’s works are among the public collections of art museum in China such as Chengdu Modern Art Center, Shanghai Art Museum, Suzhou Art Museum, Shenzhen Art Museum, YUZ Art Museum, Qiao Space, BMW China and Miele Germany, etc.