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王光乐

Duo Color

Wang Guangle 180825, 2018. acrylic on canvas, 230 cm × 160 cm (90-9/16" × 63").

Wang Guangle 180825, 2018. acrylic on canvas, 230 cm × 160 cm (90-9/16" × 63").

About 王光乐

王光樂, 1977年出生於福建,2000年畢業於美術中央美術學院油畫系並獲學士學位。 2003年, 王光樂與宋琨丶胡曉媛和仇曉飛組成了藝術團體N12, 以各自創作、集體參展的方式進行他們的藝術實踐。從2000年至今, 王光樂共舉辦了5個展,並受邀參加世界範圍內的多項大型展事,與他合作過的國際知名藝術機構包括尤其是荷蘭鹿特丹的布尼根博物館; 北京尤倫斯當代藝術中心, 杭州浙江省美術館, 德國路德維希美術館, 義大利波札諾當代美術館, 澳大利亞​​悉尼白兔美術館, 美國橘郡現代博物館和盧貝爾家族收藏和當代藝術基金會。此外,他參加了近70個群展, 其中包括於2010年在韓國釜山文化中心舉辦的「釜山雙年展」, 和2009年於捷克共和國舉辦的第四屆布拉格雙年展。藝術家現工作和生活於中國北京。

Press Release

  • Duo Color

    New York—Pace Gallery is pleased to present an exhibition of new paintings by renowned Chinese artist Wang Guangle. Wang’s fourth international exhibition with Pace and third solo show in New York, Duo Color will be on view at 510 West 25th Street from January 11 through February 9, 2019, with an opening reception for the artist held on Thursday, January 10, from 6 – 8 p.m.

    One of the preeminent contemporary abstract painters, Wang’s work is rooted in an investigation of painting’s temporality and in the power of the canvas as a vessel of labor and marker of time. He recalls an historical tradition of ancient Chinese scholars and approaches the act of painting as a daily practice for personal moral cultivation and spiritual exploration. This exhibition will showcase a selection of 14 new acrylic on canvas paintings, which reflect the artist’s use of a uniform brushstroke and systematic application of paint. Wang applies each layer of paint beginning from the far edges of the canvas and working precisely inward to the center, creating a subtle gradation of color and the effect of an illuminated rectangle or void. This considered technique gives his paintings a potent illusionistic depth, with the varying tones of the composition acting as a subtle framing device for each work.

    While in past series, Wang has focused each painting on a single hue, for this new series he has chosen pairs of contrasting colors. He slowly layers the pigments over days and months with a precision that makes one color appear to naturally progress to its opposite—evolving two originally conflicting colors into a harmonious one. Within Wang’s practice and the cultural background from which his work emerges, the notion of “color” refers to a Buddhist concept used to capture the appearance of the material world, which is considered the result of the illusions and agonies of people’s minds. The artist’s diligent act of reconciling and uniting two opposing colors can be understood as the symbolic harmonization of the conflicting relationship between the physical and the spiritual worlds—resulting in a final painting, which the artist describes as the “shape of the psyche.”