Kwai Fung Hin is pleased to announce its debut exhibition in Singapore, From Landscape to Landscapes, a group exhibition that brings together works by artists across generations and cultures to examine the changing landscape, both physical and conceptual, as a site of artistic inspiration as well as personal and shared histories. Tracing the geography of their imagination, the exhibition explores these artists’ responses to places in relations to nature, heritage, modernity and cultural relations.
Featuring contemporary artists Li Huayi, Xue Song, Ziad Dalloul, Bai Ming and Ju Ming, and modern artists Lalan, Bernard Buffet, Georges Mathieu, Oswaldo Vigas, Bernard Cathelin and Claude Venard, From Landscape to Landscapes takes viewers beyond the traditional painting genre and looks into the intertwining relationships between nature, art, tradition and progress. Landscapes, in plural, speak to an ever-expanding field of expressive language, embodying not only the law of nature, but also our living space and its continuously transforming surrounding.
These artists, with their diverse media and approaches in figuration and abstraction, are united by their multicultural backgrounds and their ability to summon the force of nature in their imaginative terrains, weaving nature and our lived experiences to project the topography of human consciousness.
While the works of Li Huayi, Lalan, Xue Song, Bai Ming and Ju Ming all share the spiritual connection to nature rooted in Chinese tradition, their diverse choices of materials and individual takes on form and space have open new vista of the present.
Staying true to their figurative styles when the postwar Parisian art scene was dominated by abstraction, Bernard Buffet and Claude Venard both chose to use strong outlines and angular forms as their visual vocabularies but rendered the city of Paris in very different atmosphere.
Coming from different continents and generations, Oswaldo Vigas and Ziad Dalloul ruminate on the intertwining relationship between man and nature through the lens of their cultural heritage. While Vigas’s Latin American landscape comes in the form of a hybrid female figure, Dalloul’s canvases are devoid of man, whose presence is represented by daily objects that form part of his “interior landscape”.
