John Young: Storm Resurrection
Pearl Lam Galleries is pleased to present Storm Resurrection, a solo exhibition by Chinese Australian artist John Young (b. 1956), opening on 2 July, 2016. The exhibition will bring together three series of works: Storm Resurrection, Naïve and Sentimental Paintings, and Veil. Using his “human-computer friendship” method, Young melds contemporary technology with oil painting techniques in his signature works, drawing on an innate human sentiment in his selection of presented images to create art that engages with the anachronistic condition of painting in the age of photography. Shaping the core of the exhibition will be works from Young’s new Storm Resurrection series, where the artist manipulates original paintings by Wang Ji Yuan, Guan Liang, Qiu Ti, and other members of the Storm Society, China’s first modern art association, to generate abstract compositions. He then uses oil paint to translate these faithfully onto linen. In this series, Young searches for a historical significance that has somehow escaped the cultural consciousness of artists in China, as he tries to rediscover the country’s source of Modernism. While the Shanghai Art College never rejected Western Modernist styles of painting, they were reserved in their support of its development in comparison to Chinese painting. In response, societies were formed after class and off-campus to maintain its development, which is how the Storm Society was conceived. However, with little attention or appreciation for the Western style they espoused, the Society ceased to exist after four exhibitions and twelve issues of their periodical. Selecting these works as the basis for his series, Young puts forth his belief in the retrospective importance of this movement as a breakthrough towards Modernism in China.
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Pearl Lam Galleries is pleased to present Storm Resurrection, a solo exhibition by Chinese Australian artist John Young (b. 1956), opening on 2 July, 2016. The exhibition will bring together three series of works: Storm Resurrection, Naïve and Sentimental Paintings, and Veil. Using his “human-computer friendship” method, Young melds contemporary technology with oil painting techniques in his signature works, drawing on an innate human sentiment in his selection of presented images to create art that engages with the anachronistic condition of painting in the age of photography. Shaping the core of the exhibition will be works from Young’s new Storm Resurrection series, where the artist manipulates original paintings by Wang Ji Yuan, Guan Liang, Qiu Ti, and other members of the Storm Society, China’s first modern art association, to generate abstract compositions. He then uses oil paint to translate these faithfully onto linen. In this series, Young searches for a historical significance that has somehow escaped the cultural consciousness of artists in China, as he tries to rediscover the country’s source of Modernism. While the Shanghai Art College never rejected Western Modernist styles of painting, they were reserved in their support of its development in comparison to Chinese painting. In response, societies were formed after class and off-campus to maintain its development, which is how the Storm Society was conceived. However, with little attention or appreciation for the Western style they espoused, the Society ceased to exist after four exhibitions and twelve issues of their periodical. Selecting these works as the basis for his series, Young puts forth his belief in the retrospective importance of this movement as a breakthrough towards Modernism in China.
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