In the hands of Wu Jian'an, the traditional Chinese medium of paper cut is elaborated and used to explore an idiosyncratic range of iconographic source material culled from all over the world. Over time, Wu Jian'an's works have grown both in scale and complexity as he increasingly conceives individual works as part of larger installations.Read More
Since his first exhibition at Chambers Fine Art in 2006, Wu Jian'an has established himself as a unique figure in contemporary Chinese art. Having chosen paper-cut as his primary means of expression in his early work, he has continued to use this technique in increasingly complex multilayered compositions and installations that frequently utilise thousands of components. Simultaneously, the range of references embodied in his works has grown enormously, embracing a multitude of mythological, esoteric and contemporary references.
Text courtesy Chambers Fine Art.
Infinity is ungraspable. It has no shape, no defined time period, no boundaries. Given this, how can we explore concepts of shapeless, infinite existence? Artist Wu Jian'an explores this and more in his solo exhibition Of the Infinite Mind.
Rock, Paper, Scissors: Positions in Play — United Arab Emirates Curated by Hammad Nasar, commissioned by the Salama bint Hamdan Al Nahyan Foundation and supported by the UAE Ministry of Culture and Knowledge Development, the exhibition features existing, new commissions and re-fabrications of 'lost' works by five UAE-based artists. The...
The China Pavilion at this year's edition of the Venice Biennale, running from 13 May to 26 November 2017, will be curated by artist and curator Qiu Zhijie (b.1969), Dean of the School of Experimental Art at China's Central Academy of Fine Arts. The theme of this year's exhibition will be Continuum - Generation by Generation and will include the...
Paper cutting is a traditional technique associated with shadow puppetry and small scale delicate and often decorative works of earlier centuries, yet Wu Jian'an (b. 1980, Beijing) has been using the medium to negotiate a series of questions about the human body and virus, society and the media, and common existential experiences of fear, boredom...
In the hands of Wu Jian'an, the traditional Chinese medium of paper cut is elaborated and used to explore an idiosyncratic range of iconographic source material culled from all over the world. Over time, Wu Jian'an's works have grown both in scale and complexity as he increasingly conceives individual works as part of larger installations.
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