Songs of Sculptors

SONGS OF SCULPTORS

TALES TOLD THROUGH THE LANGUAGE OF ART

Featuring Sculptors Wang Xing Xang Ren Sihong Chen Wenling & Gao Xiaowu

WANG XING GANG Wang Xing Gang is one of China’s most outstanding young sculptors. Using mainly bronze and resin he is able to capture the essence of movement, of physical endurance, challenge and competition. One can feel the force of the forward lunge taken by the running figure in “North Wind: Tracing Wind,” the companionship inspired by the camaraderie between the jogging figure and his canine companion.

Born in 1971 in Liaoling, northern Provence in China, Wang received a B.S. in sculpture making in Lu Xun Academy of Fine Arts (LXAFA) in 1997. He received a M.A. (Master of Creative Art) in Wollongong University in 2004. His pieces such as “North Wind” have earned him the special prize of the Fourth National Sporting Arts Exhibition and the second prize Liaoning Provincial Art Exhibition. Other winning pieces include “Clearing Up After Drizzle”, “Music of Spring” and “Source of Power”.

Left Wang Xing Gang Previous Page & Top Chasing Series App. 500mm height, Bronze

Chasing Series (Red) App. 500mm height, Bronze with Automotive Paint

REN SIHONG In the sculpture ensemble, Mao leads the children of the consumer society do the broadcast exercise. He turns the uniformity of the exercise movement into a free and idle, self-entertaining behaviors, which brings a post-ideological linguistic feature to politics and sports.

Previous Page Broadcast Exercise App. 900mm height, Bronze Right Mao with Violin 1250mm X 800mm X 500mm, Bronze

The history of China’s nationwide development to a sports power starts from the saying of “The great leader Chairman Mao teaches us to stay alert and protect our country: to prevent myopia, let’s do the eye massage starting from now”. The nationwide practice of eye massage and broadcast exercise belong to the collective memory of those who were born in the 70s and 80s. Ren’s work can be classified as Political Pop, in which the great leader is presented in such a light-hearted and humorous way that the distance between the untouchable, glorified giant and our realistic experience vanishes. In the sculpture ensemble, Mao leads the children of the consumer society do the broadcast exercise. He turns the uniformity of the exercise movement into a free and idle, self-entertaining behaviour, which brings a post-ideological linguistic feature to politics and sports. It is also a variation to dispel politics under the atmosphere of consumer culture. In Ren’s concern of the western modern art and thinking, he rouses from the impractical universal questions of mankind and if art and turns into the concern of the real existential space in which the Chinese live. His political pop is presented with humour and has a tendency to dispel their inner political complex.

Top Stage Series 420mm x 370mm x 180mm, Bronze Right Ren Sihong

CHEN WENLING Modern art emphasizes the concepts in a work. It often creates a style of too many concepts, making viewers tired. In contrast, Chen works is simple and true. He does not deliberately create concepts. The naked bodies have nothing to hide. What is left, is a direct communication with the nature and a conversation between the society and the people.

Chen Wen Ling is a recognised young sculptor working in China.

Born in Anxi, Fujian China in 1969, he graduated from Xiamen academy of Art and completed study in Sculpture Dept, Central Academy of Fine Arts, Beijing China.

The Red Boys are innocent and not evil, healthy and not sick. It is well known that the visual arts of the late twentieth century, whether in art, movie and three-dimension cartoon pictures of computer games are full of violence and self doubt and pity.

Chen’s Red Boy look like a lotus growing out of mud, satisfying viewers cravings for a new trend of avant garde art, ie. to make a vehicle of the construction of human nature rather than the weapon of criticism of human nature.

Previous Page Cold Boy Approx 1700mm height Bronze with automative paint Left Shower Boy 750 x 180 x 110mm, Bronze with automoative paint

Below Chen Wenling with Captian (Limited Edition Bronze) Left Smile Approx 2800mm, Bronze with automative paint

GAO XIAOWU Gao’s creation avoids political symbols and totem. Gao, like other 1980s artists, spontaneously returned to the nature of artistic creation, pursuing their own aesthetic display of expressing the interest achieved by content and medium.

Gao XiaoWu born in Sanming in south China’s Fujian province.

Gao majored In sculpture in Art Academy in Xiamen before furthering his studies at Central Academy of Fine Arts in Beijing.

Gao’s works are not only based on the lives of ordinary people living in the city, they also serve as an exploration of his own identity. Although he was born in the 1970’s, his artistic creation resembles those who were born a decade later. He does not try to express ambitious aspirations that concern the country nor complains about the current situation. Instead, he is more concerned about the happiness and grief in his everyday life.

He is posturing for his own aesthetic view. Gao’s aesthetics fall into the generation of comics and cartoons. He is one of

Standard Times (Latest Series) App. 800mm height Bronze with automoative paint

Below Gao Xiaowu Right Standard Times (Latest Series) App. 800mm height Bronze with automoative paint

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