Lin & Lin Gallery is delighted to announce our participation in Art Basel's first iteration of Online Viewing Rooms, presenting works by Wu Da-Yu, George Chann, and Shen Liang. By showcasing three great artists from different generations, to explore the diversity of traditional Chinese aesthetics, therefore once again interpret the modern language of abstract painting.
Wu Da-Yu's paintings are not limited by representation, as his brushwork is natural and unrestrained, his colours are bright and lyrical, and overall, his paintings are very abstract. Besides occupying an important position in art history, Wu influenced many second-generation artists, such as his students Wu Guanzhong, Zao Wou-Ki, and Chu Teh-Chun, who blended influences from the East and West in their works. His paintings can be linked to the spirit of the Eastern tradition, as Eastern abstraction relies on mental imagery that serves as an intermediary between the concrete and abstract. His concept of dynamism links concrete objects and images, and this is what is called 'nature' in Chinese philosophy. This, in turn, is Wu's idea of dynamism. Each of Wu's students has relied on individual experience to define dynamism in his own way, thus Wu has had a comprehensive influence on Chinese abstraction from its inception to its ongoing development.
Chinese characters and ancient artefacts constitute the cultural basis of George Chann's art. Appearance in his work is inspired by the patina of bronze vessels, weathered ancient stone tablets, and Chinese characters from different periods. George Chann creates rich layers and textures that confound the top and bottom, as well as the image and background, in his painting. From a comprehensive survey of George Chann's artwork, it can be seen that the artist reconstructed and layered a reality that transcends the abstract plane with forms from inscriptions on ancient art. He liberated space from old constraints to put forth a new artistic expression of refined historical dimensions. The concept of nature and landscape in Chinese art comes from the classic text The Book of Changes and from the writings of Zhuangzi, and it can be said that Chann refers to this ancient cosmology when exploring relationships between people and things, and nature and history.
Shen Linag's series extend his exploration of common objects and include recent work that introduces elements of contemporary life into traditional painting. Starting from Eastern aesthetics, Shen then uses traditional Western methods and materials to create paintings with an Eastern spirit. In 'Bast Paper Series', objects are depicted with exquisite technique approaching that of Realism, which exudes the charm of landscapes in the Eastern ink-painting tradition. Shen's paintings are both concrete and abstract. For 'Painted Book Series', Shen added elements of falsification, ridicule, irony, joking, and humour to make the work contemporary. Shen's 'Painted Book Series' is part graffiti, part painting, and also part ready-made object. Although Shen Liang has a background in Western painting, he still cherishes his own culture like a true literati. Through the alternating use of banter and solemnity and entirely new features in his work, Shen joins Chinese traditional culture with contemporary life.