Pace Galleries

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").
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About 王光乐

王光乐, 1977年出生于福建,2000年毕业于美术中央美术学院油画系并获学士学位。 2003年, 王光乐与宋琨丶胡晓媛和仇晓飞组成了艺术团体N12, 以各自创作、集体参展的方式进行他们的艺术实践。从2000年至今, 王光乐共举办了5个展,并受邀参加世界范围内的多项大型展事,与他合作过的国际知名艺术机构包括尤其是荷兰鹿特丹的布尼根博物馆; 北京尤伦斯当代艺术中心, 杭州浙江省美术馆, 德国路德维希美术馆, 义大利波札诺当代美术馆, 澳大利亚​​悉尼白兔美术馆, 美国橘郡现代博物馆和卢贝尔家族收藏和当代艺术基金会。此外,他参加了近70个群展, 其中包括于2010年在韩国釜山文化中心举办的“釜山双年展”, 和2009年于捷克共和国举办的第四届布拉格双年展。艺术家现工作和生活于中国北京。
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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.”

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