Hua Gallery, London’s only Chinese contemporary art gallery with a permanent exhibition space of its scale, opens its Abstract Moods exhibition with a press preview at 6pm on Tuesday 10 July 2012. Abstract Moods explores a new generation of Chinese artists influenced by Western movements.
While traditional works of Chinese art are primarily ink paintings, these artists employ video, acrylic and oil on canvas to create intense and intriguing scenes. Along with conveying their inner moods, these works also express the spiritual conflicts the artists have experienced throughout their creative processes.
Abstract Moods runs from 10 July to 25 August 2012 and is open to the public free of charge from Monday to Friday 9.30am to 6.00pm and Saturday 11.00am to 6pm.
Hua Gallery is located at Unit 7B, G/F, Albion Riverside, 8 Hester Road, Battersea, London, SW11 4AX.
Gordon Cheung’s multi-media art captures the hallucinations between the virtual and actual realities of a globalized world, oscillating between Utopia and Dystopia. His installation, ‘The Four Riders’, is suggestive of the biblical horseman of the apocalypse and draws the viewer into a repetitive and dreamlike audiovisual experience.
Chen Guocheng’s paintings present to the audience a personal, mysterious and unknown world, utilising a variety of techniques and media to create an idealised natural landscape rich with meaning and visual pleasure. Exploring the boundaries between figurative and abstract styles, memories and dreams, Guocheng Chen’s work comments on the relationship between reality and imagination.
Kuan Ching Mediha Ting applies varying techniques to her work, including acrylic colour spread, Chinese ink spread, masking, glazing, and layering. She has adopted fragmented political documents, Chinese calligraphy pieces, and depictions of neon signs, along with overlapping layers, to portray Freudian interpretations of dreams about birth and death, and the anxiety of being surrounded by an ever-present, cyber based culture.
Yi Xuan’s paintings emerge from a deep and hidden space inside him found during Buddhist meditation. The chaotic yet peaceful movement in his painting is a process of translating his Zen into formless figures.
Han Zhongren, influenced by the works of Picasso and German Expressionists, divides the canvas into blocks of bright contrasting colours before thick strokes are directed in overlapping layers. His work conveys his emotions about the beauty of nature, life, and vitality and its sharp contrast with life as he knows it in Beijing today, a place now far from the natural world. The explosive use of colours and the strong, powerful brush strokes demonstrate Han’s strong feelings on the clash of the natural and unnatural.