Wang Guangle (b. 1976, Fujian, China) is recognized as a pioneer of conceptual painting in China. He was a founding member of the N12 artist group, unified by their break from the traditions of representational painting toward individual expression. He has garnered critical praise for his process-based paintings, wherein the artist translates abstract qualities of the world—such as the passage of time—into paint, simultaneously referring to the materiality of the medium and the act of painting through abstraction and repetition.
Wang has been the subject of several one-artist exhibitions at venues including Beijing Commune (2009, 2011, 2015), and the Soka Art Center, Taipei (2011). Since 2000, his work has been featured in over ninety group exhibitions, including China’s ReVision: Focus Beijing, Ludwig Museum, Koblenz, Germany (2008); Prague Biennale (2009); Busan Biennale (2010); Spin: The First Decade of the New Century, Today Art Museum, Beijing (2012); ON | OFF: China’s Young Artists’ Concept & Practice, Ullens Center for Contemporary Art, Beijing (2013); California-Pacific Triennial, Orange County Museum of Art, Newport Beach (2013); 28 Chinese, Asian Art Museum, San Francisco (2015); and Constellation, Dimitri Shevardnadze National Gallery, Tbilisi, Georgia (2017).
510 West 25th Street, New York
October 10 – November 1, 2014
Opening Reception: Thursday, October 9, 6 – 8 PM
New York— Pace Gallery is pleased to present an exhibition of new work by Chinese artist Wang Guangle, a pioneer of abstract and conceptual art among his generation, on view at 510 West 25th Street, New York, from October 10 through November 1. The exhibition will survey his approach to abstraction by featuring nine new works from three series, including four Untitled paintings (begun 2007), four Coffin Paint works (begun in 2004), and one painting extending from his Terrazzo series (begun in 2002). Pace will publish a catalogue to accompany the exhibition, which will include a new essay by Dan Cameron, chief curator at the Orange County Museum of Art, California. A public reception will be held on Thursday, October 9, 6 – 8 PM.
Although each series emerged at different times during the artist’s career, he now often works simultaneously on all three in an organic manner, as he points out: “when I was working on Terrazzo, Coffin Paint, and Untitled, I didn’t distinguish much between them, though they developed a complementary relationship as I worked.” Wang has gained critical praise for his process-based paintings, which simultaneously reference traditional memento mori, temporality, repetition, and abstraction. Deriving from a traditional practice, Wang produces his Coffin paintings by working with his canvas resting flat on the studio floor, systematically applying layers of acrylic paint in alternating colors—at times monochromatic, at times colorful—resulting in a densely stratified surface.
An extension of the Coffin Paint series, his large-scale Untitled works evolve from the same technique. Here, however, each layer of paint is applied from the far edges of the canvas working inward toward the center, thus resulting in an illusionistic depth, the lighter tones of the composition acting as a framing device. As with the Coffin Paint series, each painting is provided with a numeric title indicating the year, month, and day of its completion. Each stroke of paint signifies a moment in time, an amalgamation of gesture, which in completion becomes a meditation on temporality. Wang reveals, “the most important thing is not the ‘what’ of painting, but the ‘how.’”
The Coffin Paint series was inspired by a burial tradition he witnessed while growing up in Fujian province, southern China, where it is customary for the elderly to cope with their impending mortality by acquiring a casket and painting it in red lacquer, adding a coat of paint every year on the same date as a celebration of longevity. A meditative symbol of acceptance and preparation, the coffin can incur several years’ worth of paint layers up until the moment of a person’s passing. In this way, Wang’s method evokes a strong metaphor, relating to Chinese cultural identity as much as it relates to conceptual art practices.
One of his earliest abstract series, Wang’s Terrazzo paintings relate to the personal sphere, specifically the terrazzo tiled floors of his childhood home. The artist states: “My memories of my home are bound up inseparably with this material. When I paint it, I feel freed from specific forms—I can virtually look inward. The Terrazzo paintings are decidedly minimalist in approach, abstractions of time and gesture. The artist applies paint to the canvas surface, millimeter by millimeter, often taking months to meticulously accumulate brushstrokes into large-scale renderings of marble tile. A profound manifestation of his Terrazzo series is evidenced in the nonextant mural, The Wall (2004). With his studio earmarked for demolition, the artist painted an entire wall of the space throughout the course of one month. The building was razed shortly after the mural’s completion, a potent symbol of transience. “In a perfect world, art would disappear,” says Wang, “Or rather, once art had helped the world become perfect, it would then allow itself to disperse.”
Wang Guangle (b. 1976, Songxi, Fujian province) trained at the Central Academy of Fine Arts, Beijing, where he graduated in 2000 and was awarded first prize in the annual academy contest for his thesis piece, 3 to 5 p.m. Regarded as a leader among China’s younger generation of painters, he is a member of N12, a group of twelve graduates of the Central Academy of Fine Arts who began staging exhibitions together in 2003.
The artist has been the subject of one-artist exhibitions including Untitled (2011) and Wang Guangle (2008) at Beijing Commune. Recent group exhibitions include Focus Beijing, De Heus-Zomer Collection, Museum Boijmans Van Beuningen, Rotterdam (2014); the groundbreaking show ON | OFF: China’s Young Artists in Concept and Practice, Ullens Center for Contemporary Art, Beijing (2013), a comprehensive survey of the generation of Chinese artists born at the end of the Cultural Revolution and at the dawn of the country’s era of reform; as well as the 2013 California-Pacific Triennial, Orange County Museum of Art, Newport Beach, CA, showcasing the most innovative art produced throughout the Pacific rim. Wang was also included in the first two installments of Beijing Voice, Pace Beijing (2011, 2010), an annual group show that considers and interprets current phenomena and ideas in contemporary art. Examples of Wang Guangle’s work can be found in the Rubell Family Collection, Miami, Florida, as well as the De Heus-Zomer Collection, Netherlands.
A forthcoming monograph, Wang Guangle, published by Hatje Cantz is slated for release in 2015. Wang Guangle lives and works in Beijing. This is his second solo exhibition with Pace.
2014. Pace Gallery. Paperback
32 pages: 13 color illustrations; 11 ¾ x 9 ½ inches