An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...
Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...
Chinyee. Artwork: Chinyee, Longings (2013). Oil on canvas. 170.2 × 170.2 cm. All images courtesy the artist and Alisan Fine Arts, Hong Kong.
Raspy, trumpeted notes dip, jump and shimmy across a melodic scale, meandering spontaneously through a supporting rhythmic foundation of brassy hi-hats, double bass twangs and piano progressions. So begins Miles Davis's legendary 1959 jazz album Kind of Blue—nonagenarian painter Chinyee's one and only requisite studio soundtrack for the past decade. Improvised jazz, with its associations of subversion and liberation, was deeply evocative for numerous 20th-century artists, including abstract expressionist Jackson Pollock, minimalist Frank Stella, and neo-expressionist Jean-Michel Basquiat. Dubbed a 'lyrical abstractionist' by critics, Chinyee is similarly partial to the musical genre.
Chinese-American artist Chinyee (青意) combines basic elements of the pictorial language—space, line and colour—to create lyrical abstract oil paintings and watercolours.
Born in 1929 in Nanjing, China, Chinyee was awarded a four-year scholarship to study in the United States in 1947, where she received her BFA from the College of Mount Saint Vincent and MA from New York University. She began working in the accounting department of the United Nations in 1956 while continuing to paint, and held her first solo exhibition at the Mi-Chou Gallery in New York in 1965.
With an academic background in traditional Chinese calligraphy, figurative illustration and painting, Chinyee began experimenting with Abstract Expressionism at its peak in New York in the 1940s and 1950s. Her early abstract works reveal traces of figuration, such as Markings (1965), a watercolour painting in which the circular form on the top left evokes the moon and the purple and horizontal black forms below hint at the mountains and streams. Over time, Chinyee adopted a technique of loose and spontaneous brushwork that draws from both calligraphic traditions and methods shared by other AbEx artists such as Joan Mitchell. In her oil painting Joy (2013), broad and energetic brushstrokes cut across a pear-green ground punctuated by shocks of pink, while in the oil painting Longings (2013), thin strokes of purple and black blend into a vibrant pink background.
After more than five decades of painting, Chinyee is still a prolific artist. For Dances of the Inner Being, her 2018 solo show at Alisan Fine Arts, Hong Kong, she presented a body of newly created works in addition to earlier paintings. The title is derived from her vision of painting, which, in her artist's statement, she describes as 'a process of discovering, shaping and reshaping [her] inner being.' In the exhibition, the artworks on display showcased her propensity for producing lyrical harmony among chaos and invoking a diverse range of emotions. The vertical arrangement of softly painted rectangles in Untitled (2017), for example, recalls the subdued colour field paintings of Mark Rothko; Chinyee, however, inserts an element of surprise to her painting by marking its surface with a thin stroke of red. Vitality replaces calmness in June A (2018), where gestural strokes of blue and green encapsulate the heat of summer engulfed in the saturated yellow and orange background.
Chinyee's solo exhibitions include Rhythms of Creation at Alisan Fine Arts (2013), and Chinyee's 50-year Retrospective: A Lyrical Journey at Shanghai Art Museum (2007). Her artwork was included in the group exhibition Asian Tradition/Modern Expressions: Asian American Artists and Abstractions 1945–1970, which travelled through the United States, Japan and Taiwan between 1997 and 1999. In 1989, Chinyee was named the 'Artist of the Nineties' by Manhattan Arts Magazine. Her works are in the collections of UNICEF, Shanghai Art Museum and Nankai University in Tianjin.
Chinyee lives and works in New Jersey.
On the eve of Art Basel in Hong Kong's private view on Wednesday, the Beijing-based artist Huang Rui took to the streets of Central for a paint-splashed performance about the cyclical nature of history. The piece was a tribute to Lee Wen, the pioneering Asian performance artist who died early this month.
Having been recently nominated for the Women of Hope award, Daphne King-Yao, the director of Alisan Fine Arts, is not only a gallerist but also a dedicated philanthropist in the arts and culture sector.
The Fondazione Marconi in Milan dedicated a museum-sized retrospective to Chinese artist Hsiao Chin, including more than 200 works from the gallery's collection. Showcasing paintings on canvas and paper dating from the late 1950s to the present, the exhibition traced the development of Hsiao's colorful abstraction infused with principles of Taoist...
Hong Kong artist Fung Ming Chip's research into the history of ideograms and pictographs, especially in relation to Chinese calligraphy, seems increasingly relevant in a media saturated world in which the image is most definitely the message. The title of Fung Ming Chip's current solo exhibition Meme at Hong Kong-based Galerie du Monde seeks to...
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