•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
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Exhibition Photos - Thread Gallery

The finger pointing at the moon
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Exhibition Photo Description:
Cheng Cheng-Huang’s new series of works “Tunnel Vision” seems to have offered, via transitions of spaces, a useful differentiation between post-modernism and modernism. This differentiation exists in the two types of interrelations between time and space, instead of two undistinguishable categories. This unique great transformation is namely the replacing and spacing of time, whose novelty is often recorded by way of a sense of loss in its preliminary exploration. Any substantial interpretations for this new space aesthetics and its existential world need a few intermediate steps, or “mediation” in dialectical terms. The post-modern spacing has long progressed in the interrelations among various space media and their co-existing heterogeneous powers. Therefore, we can view the spacing in Cheng Cheng-Huang’s “Tunnel Vision” as the process of a traditional fine art being mediatized. The socially critical works from Cheng’s early days treated worldly objects from the viewpoint of material affirmation. He has slowly evolved from questioning external objects to analyzing the internal self. We can see material meanings being fradually stripped, all the way to the core of a dim and more imaginative mind. “Tunnel Vision” uses ink colors from a combination of ink powder and water. This prototypical material is, being a water-soluble ink mixture, extremely inclusive. It is intimate without being disruptive, unlike the aggressiveness and offensiveness of oil-based painting materials. The usage of ink color, paper, and wood reflects the spirits of inclusiveness, metaphor, concession, and introspection in Chinese culture. Those are the essences of artistic lexicon transformed via the artist’s close observation and experiences. Moreover, with ink painting techniques, Cheng has constructed Western-style pictorial and visual experiences, while expressing the perceptions of the essences of Oriental culture, resulting in intersection and interaction of two cultures. We see the Western-style images of Mickey Mouse, Hello Kitty, humans, rocks, birds, and excrement, all of which are then unified by ink and woodcuts. His works demonstrate a visual experience of non-traditional ink painting. It is not a simplistic appropriation of Western images, nor is it just an application of ink painting ideas and thoughts.

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