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Taiji No.16 Bronze,，40×26×68cm
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Finding Love Bronze,，50cm, Edition of 20, 44 x 70 x 23cm Taiji No.4 Bronze,，45×27×60cm
Taiji No.2 Bronze,，59×19×60cm
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Finding Love Aluminium,，50cm, Edition of 20, 44 x 70 x 23cm
Finding Love Bronze,，50cm, Edition of 20, 44 x 70 x 23cm Taiji No.5 Bronze,，20×28×63cm
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Love No.6 Bronze,，30×42×50cm Bronze,，100cm Taiji
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Love Bronze,，50cm
Taiji No.10 Bronze,，25×22×63cm
Taiji No.14 Bronze,，50×35×66cm
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TaiJI — Xie Ai ge’s tremendous transformation By Chu Hao It was in the spring of 2004 that I first came to know Xie Aige. I was then working at the organizing committee of Shanghai Spring Art Saloon when a large- scale art exhibition entitled “spring” was organized by the Fashion Saloon of Shanghai CITIC Square. With hundreds of participating artists, the art show covered a multitude of art works employing an entirely different variety of materials and works, among which I was most deeply impressed by the pottery works created by an artist named Xie Aige. I did not meet her when making arrangements for the art show. Her pottery was on display at an eye-catching place in the center of exhibition hall portraying a detailed-oriented yet proportionately exaggerated and slightly transformed realism figure. Ms. Xie arrived at the art exhibition on the date of the opening ceremony. To my surprise, with a longstemmed Chinese pipe in her hand, she stepped into the exhibition hall hurriedly and put that pipe on the hand of her art works. It turned out that the long-stemmed Chinese pipe was an indispensable part of her works, which has left an unforgettable impression on my mind. Ms. Xie played an active role in almost all group exhibitions planned by me from 2004 to 2005. Her distinctive art works and remarkable style definitely enriched art materials and enhanced artistic appreciation of art shows. Her works on display include such works as a touching moment in early spring, spring tropic and waking up time, etc. The art exhibition entitled I have a date with spring has been known as a benchmark in my career as an art show planner. The term “Contemporary art in China” was not invented or even clearly defined in 2005. Chinese art planners, who were not content with the status quo of the Chinese art at that time, took the lead in organizing a great many of influential pioneering artists in Shanghai by taking bold and drastic steps and coming up with relatively clearly-defined definition. Despite their relatively immature art works and imperfect materials and artistic languages, they still came up with their own versions and interpretation of early contemporary Chinese art free from dominance and influence of western art planners and organizers. These artists created art works showcasing their unique understanding and knowledge of art by insisting on taking a road of their own instead of copying and imitating art of western counterparts. The art planning team included more than 10 artists such as Xiao Xiaolan, Ji Wenyu, Chen Qiang, Chen
Guanghui and Kangqing. I recommended art works and sculptures made by Xie Aige, Han Zijian and Yuan Kan. With her dedication and passion, Ms. Xie was the only artist participating in the art show named “spring trilogy” planned by me in 2005. The years from 2006 to 2008 witnessed tremendous and turbulent changes in terms of artists and development of artistic community in China. Because of gradual changes of my art show planning orientation, there were some gaps between Ms. Xie and me and thus she was not actively involved in my exhibitions and was moving away from my eyesight. However, she has thus embarked on a road leading to brilliant and fruitful artistic creation by setting up her studio in M50, which is equipped with electric kiln making pottery art works. Although I planned very few group art exhibitions at that time, yet I still paid visits to Ms. Xie’s studio whenever I traveled to M50. Moreover, Ms. Xie set up her very first art gallery on the second floor of a building in M50, where I have seen art sculptures made of glass steel and cast copper, characteristic of her impressive creativeness and vivid imagination in her pursuit of artistic development and improvement. I am not aware when Ms. Xie started to create sculpture. But I am sure the works named “Taiji” are of significant importance in her works. I am of the view that there is much extensive knowledge and profound understanding behind her “Taiji” works. Known as a complicated, mysterious and everlasting subject evolving from the time immemorial, Taiji might represent the most essential and profound concept of ancient oriental culture, which interprets the eternal cycle of birth of all creatures and lives on the earth and has a direct bearing on the knowledge from the Book of Changes. According to YiJing Etymology, Yi consists of Taiji, which gives birth to the two appearances, and the two appearances give birth to the four images which in turn lead to development of the BaGua. What do two appearances mean? In a word, they are composed of Yin and Yang, two types of vital energy, which are used to explain the unfolding implications of the universe and all phenomena within, and they can hardly be changed by any human beings in the world. How could we explain and interpret such in-depth and profound knowledge and principles? Profound as the knowledge sounds, we still have to impart and pass it on to future generations in a relatively simple and easy manner.
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CRITIQUE By Andre Syrbe, in Munich, Germany
Xie Aige embarked on her very first European journey in April, 2004. She reached her destination followed by 3-hour travel where the famous Brandhorst art exhibition in Munich had already opened. The art exhibition showcased a great many contemporary art works created by such renowned maters as Andy Warhol, Cy Twombly and many others. Ms. Xie, who is a very ambitious artist with lofty ideas, is always full of curiosity to everything that arouses her interest. Known as a famous artist in Shanghai and China, she still cherishes the dream of getting access to the extensive and profound history and culture in Europe. Ms. Xie visited a great many museums with accompaniment of me during her European visit. As an energetic, curious and passionate artist, she started to make preparations in Hilo Fuchs’s studio for her upcoming collective exhibition in Kunstmuseum Museum on the second day of her arrival in Munich. The art market operates based on its own rules and principles. Xie Aige is a professional artist indeed. I got to know her works made of glass steel only from some pictures and photographs. As we all know, Taiji shoulder boxing is always demonstrated in public, which is similar to Xie’s works that are full of confidence and harmony.
I have a deep understanding of Xie’s pottery works revolving around the theme of women. Most of her works depict a multitude of alluring, beautiful and elegant females with a trace of purity and naivety as if they were looking back to check what had happened. I am convinced these artistic creations are close to perfection. Xie Aige resides in Shanghai, which is a metropolitan city full of changes, diversity and vigor. The females in her works are endowed with peace, tranquil and unique personalities. A case in point is the women driving the car. With pleasant and cheerful facial expressions, women are taking initiative in their lives and they are really confident and sexy. Chinese people’s intelligence and openness is another major subject of Ms. Xie’s works. I have to admit I knew Chinese art spirit superficially only when I visited Xie Aige and Moganshan artistic community. However, I deeply appreciate and enjoy cultural exchange between and among artists of different background. Personally, I like these “women” in Ms. Xie’s creations, who are impressed with their strong personality and confidence. As a man and a European, I am of the view it is very difficult to showcase that in art works. Therefore, I fell in love with those “women” created by Xie Aige immediately at the first sight I saw them.
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Ai ge`s time of Sculpture By Su Bing
It has been many years since I got to know Xie Aige. I am firmly convinced that Xie is an artist possessed with tremendous creativity, as evidenced by her early abstract pottery works and sculptures carrying elegant and peaceful Neo-Romanticism features showcased in her solo exhibition entitled Tranquility in the Modern Art Museun on Duolun Road in November 2007. We are once again greatly dazzled and impressed by her recent array of works named Taiji and Women and Cats made of bronze and glass steel. Relaxed and idle, Silly Root, known as major symbolic figure of her art works made in 2007, is now once again reinterpreted in her works entitled Taiji. In Xie’s Taiji, with apples and auspicious clouds underneath feet, figures are still simple and plain, colorful and strong carrying facial expressions characteristic of Silly Root’s, which leave ample room for imagination and thinking. On the other hand, women portrayed in her works named Women and Cats are more brilliant in color compared with her previous art works, which gives visitors stronger visual impact.
As a representative young artist born in the 1970s’, Xie Aige has been endeavoring to make art explorations with her impressive passion and great dedication. I like Xie’s manuscripts, sketches and simple drawings very much, which have provided us with a vivid picture of her artistic planning and thinking. She has drawn inspirations from her life experiences and thinking on the contemporary world. Xie’s works are full of feminine characteristics, elements and traits and she has already ushered in the most brilliant and productive era of artistic creation and sculpture making by pursuing her own unique way of integrating traditional technique and contemporary art.
Taiji No.13 Bronze,，24×26×64cm
A sincere heart in loneliness By Xie Ai ge & Zhu Manquan Zhu Manquan (referred to as Zhu afterwards): Your life experience is of vital importance for your art works. Let us start the interview from your life and artistic experiences. What are you interested in besides artistic creations? Xie Aige (referred to as Xie afterwards): I have lived a simple life and I have had no special experiences. Born in a village of Hunan province, I have been tremendously impressed by farmers’ typical life style of simplicity and honesty as well as tranquility and peacefulness of big mountains. Perhaps living in such an environment made me interested in art subconsciously. I have been very keen on art and learned painting for years, but I used to do designing. However, fashion design, advertising design and ceramic design did not inspire my sense of fulfillment and sense of identity for my job. I have many interests and as long as anything is in my taste for beauty, I would like to have a try. I have always integrated beauty into my work. I did not call myself an artist until my works were collected by an American Chinese accidentally one day. Zhu: You are particularly keen on pottery clay. You used to learn fashion and advertising design but what has made you so committed to pottery works? Xie: Right. I studied designing in the past. But I am using pottery clay for my art works and it seems what I am doing now was arranged and determined by fate because it was actually a job introduced by my teacher at first. As it was hard to land jobs at that time, I accepted it without hesitation. I was introduced to an artist as an assistant but I did not want to do it at all in fact. I did not feel there was anything wrong with it and I gradually came to understand kaolin at that time. Actually, I still have had mixed feelings to what I am doing now, which mingles both love and hatred. Zhu: Are there any specific people or art works exerting greatest artistic influence on you in your artistic pursuit, especially when you were determined to do pottery works? Xie: I deeply appreciate my teacher who introduced me to get in touch with pottery clay. Meanwhile, I also love desolate beauty of Modigliani, imagination of Dali, calmness and persistence of Seurat, Chinese poetry, Buddhism’s life attitude and encouragement from my husband, all of which have made me reflect and improve myself all the time. Zhu: You have enjoyed using pottery clay in your works. I wonder if there are any special requirements in this regard.
Xie: It all depends. I used pottery clay to make figures for a long period of time. As long as plasticity, adhesiveness and ferrousness of clay coincide with my requirements, I use it for my works. Besides, you have to decide what emotions, ideas you want to express and what figures you want to make before choosing any specific materials. Pottery clay is warm and pure, bronze copper is valuable and heavy while stone is natural and grand. Choosing the right materials is of essential importance because it enhances what you endeavor to express through works and of course, it is also a personal experience. Sometimes, I have preference for kaolin. Zhu: What is your biggest impression of Shanghai? Xie: Honestly, I feel a little bit strange as I am from a village to such a busy metropolitan city. People are very much focused on pursuing materialistic gains in the city. I always feel lonely when driving on elevated highway illuminated by lights and I deem myself only a city passer-by. I have been living in Shanghai for many years and I have made many good friends, and I can hardly live away from city life. I am now living in outskirts where I feel happy and relaxed. Zhu: I can always sense purity, warmth and feminism in your works. Where does your biggest pleasure come from? Xie: I like feminism, which is something that I have been working on all the time. This is a pleasure of being a woman and a female artist of pursuing women’s beauty and upholding purity and honesty. It appears to be lonely process, but it is full of happiness and peace and this is also a way of exploring life. Zhu: When coming to a new and strange metropolis, you feel lonely. What has made you insist on your artistic work? Xie: Everyone feels lonely when living in a strange city. However, loneliness drives me to forge ahead and I am also motivated spiritually by my husband. I can hardly remember difficulties and hardship I went through when I came to Shanghai. But I am convinced he who laughs best laughs last. The outcomes outshine bitterness and difficulties in fact. Zhu: I suppose there should be many difficulties for a woman to do pottery when making sculpture, pottery works and collecting materials. Would you give us one or two examples? Xie: As this is what I am delighted in, I do not think
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it is difficult or hard and I have been keen on making it all the time. I remember when I made pottery series entitled secrets of women, I visited bars very often in order to observe and watch what men and women were doing, what expressions they were carrying and how they were behaving themselves by sitting at a corner and listening to music in bars. Then, I could think and reflect when took place in bars afterwards from the perspective of an artist. However, the most impressive experience was what happened to a two little birds flying into window when I did ceramic pottery in Guangdong province. My friends immediately closed door and windows after seeing them. Finding themselves fly into wrong place, the birds were too scared and too shocked to find their way out and one bird was dead by hitting itself on the window and the other fainted on the floor. So my friend asked me to take good care of the fainted little bird and I feed the bird with water and food. With time, the little bird grew stronger and he was not afraid of standing on my palm. My assistant liked the lovely bird and came to touch the bird and the bird flew away at once and did not return ever since. I admire freedom of birds. I believe what I went through at that time was indeed an artistic experience and inspiration. Of course, it has nothing to do with my aesthetic education or artistic experience, but I cherish memories from a woman’s perspective. Zhu: People coming from villages are known for their honesty, purity and innocence, but they are very easy to get marginalized and completely changed after living in big cities. I wonder if there has been anything important from your hometown affecting and influencing you. Xie: As the saying goes: a leopard can hardly change its spots. I am convinced it is the case for me as I have been educated by my parents to pursue things I like, treat people with sincerity and be true to life. I am still what I used to be and I strive to showcase and present purity in my works. Therefore, my parents’ education has influenced me so greatly in terms of my works and my life attitude that it will produce life-long influence on me. Zhu: It takes time for artists to think and experiment in terms of way of artistic expressions. You have been continuing exploring your art works. Would you tell me the process of how your art works get mature? Xie: It is a hard and tough process. I like so many things that I can hardly decide which options to
choose from and I feel it hard to select from many things I like at the same time. I started to use pottery clay to make abstract works free from restrictions but they were not accepted and liked. Then, I gradually opted for making detail-oriented people figures made of pottery clay and people liked my works. So I always tried to observe passers-by and scenes on the streets as if I were writing narratives. But I lost my passion for narratives after a couple of years and focus my attention on experiences of individuals which are more expressive. This job needs better observation and ability to see the essence through phenomenon. I love the work I am doing now as if I am doing an essay. All of work is actually based on what I did previously and I hope my art languages would be purer and richer so that my works would be as beautiful, expressive and strong as poetry. Zhu: Let us go back to your art works. I discover that you are more focused on facial expressions and emotions rather than body and shape, such as girls’ rough skin, noodle-like arms and feet, fat and big women’s bodies, exaggerated and thin bodies and abstract facial expressions. You also enjoy using clouds, birds in your works, showcasing your strong idea of expressing yourself. Would you like to elaborate on your thinking concerning people and things you have experienced in the contemporary society? Xie: We are in a world where individual interests, materialistic gains and vanity overweigh everything. Few people would bother to take time off to think about spiritual pursuits. People’s heart is dominated by anxiety and animal-like desires that drive everything and wrong faith without love, care and warmth prevails. Our society is predominated by sex, superficiality and arrogance. Men are keen on controlling this world while women like to showcase themselves with their unique feminism. As a woman artist, I do not have intention of depicting what is happening in our society, but rather, I use silly, rough facial expressions and clouds, natural landscape to depict my thinking and reflection of this society. Seeking truth, honesty and beauty is what I am looking for, which might sound to be outdated. Zhu: Your works include cats, chairs and clouds and they are closely connected to emotions of human figures. Are there any other implications behind them?
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Xie: In my opinion, cats are changeable and unpredictable. Metaphorically speaking, women are cats and I am sure of it all the time. Clouds keep changing, mountains are big and great so I would like to present the existence, purity, freedom and poetry of different things from women’s perspective with a purpose of reminding myself of keeping away from mechanical life style and material-oriented society. Besides, I have some very personal ideas by using cats for women in my works. I feel women’s bodies are more expressive than women themselves. Although I am a female artist, yet I view women’s bodies from perspective of men and showcase special characteristics. I do not want to distinguish cats from women or men. I believe it is important to release psychological and physiological needs and everyone needs to show their emotions in different cases. Cats are symbolic of what I want to express.
Xie: I enjoy the hard process of making my works, which is suitable for me. I believe I have to work in places where there are no noise, friends or business entertainment when making preparations for art exhibitions. I prefer to keep away from hustle and bustle city life and materialistic gains. I prepare for my works in advance and I always prefer to work in a way as simple as farmers by entirely concentrating on my art works. Zhu: When you look back on your art creation over the past decade, what experience has touched and impressed your most?
Zhu: Compared with other art creations and works, are there any limits of pottery works in terms of ways of expression and creation ideas? Traditionally, pottery works are not large in size and your works are as large as 1 meter, which can be seen as a breakthrough over common pottery creations but they are not as high as average people. Are there any special considerations in terms of size of your pottery works?
Zhu: Which art institutions have been working with you? What is the biggest help they have given you and in what aspects does help come from?
Xie: I do not want to be recognized only as a pottery artist. I have been making pottery works for years and it is pretty easy to use and handle. I feel warmth and truth by using pottery clay for my creation. The only drawback is that it is really difficult to make pottery works with exaggerated figures. Besides, pottery works are easy to break and hard for transportation, particularly large-sized works.
Xie: I have been engaged in art for almost a decade and I enjoy both happiness and bitterness at the same time. However, I feel lucky to have embarked on art road and art has become my cherished religion.
Xie: The cultivation of talents needs recognition of masters with a good eye. Compared with individual artists, I am lucky to have met people and art galleries who have helped me a lot. I would like to express my thanks to the support by art galleries and art centers such as Odetoart Art Gallery in Singapore and other art galleries in Shanghai, USA and Germany. They have adequate staff with professional art managerial expertise and dedication to art. I am deeply convinced more and more friends will like my art creations and recognize my works in the future.
Zhu: You make your art works in places far away from busy cities sometimes so I am very interested in this production process and your mentality. Although you work in those places, yet your works hardly depict what is happening there. So what is your thinking behind it?
This interview was covered via the Internet on 17 Sept, 2009
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An everlasting woman a visit to Xie Ai ge Socrates said there was an immortal being responsible for communications between the holy land and earthly world of all the supernatural immortals residing in Mount Olympus, who turned out to be Cupid with arrows in hand. Thanks to love, people are endowed with soul, faith, longing for birth, unlimited poetic imagination and fantastic art. Art is a divine soul deriving from the earth and heaven and a vivid inspiration injected into humans’ bodies by fairies, which is then the incarnation of human beings with a free and imaginary mind. Aige’s women are dreamlike. After experiencing tears and wears of times, every woman’s dreams are deeply immersed in the passage of time, which are smooth, warm and tranquil. Aige’s women have numerous pairs of eyes which resemble sparkling and gorgeous ripples under brilliant sunshine, some of which are high up in the sky while others are deep down at the bottom of the sea. Featuring relaxed and idle facial expressions and silky and smooth skin, Aige’s women are so intoxicated that they are keen on having conversations between heart and heart amidst mist. Aige’s women are quiet, silent and speechless, but their loneliness and silence are capable of transcending heaven and earth to the utmost of the sky. Vision: Would you please talk about ideal women in your heart? Aige: Women are both angels and evils in my heart. But I like powerful and wise women and they are masters of lives. If necessary, women could change the entire world completely but they do not need to be too tired and know when to stop before reaching limits, haha… Vision: With passion and wisdom, we understand your art is endowed with your personal artistic style, which is really wonderful and unusual for artists. Would you please elaborate on your art creation today？ Aige: Thank you. I am convinced that there are some qualities that I am born with. I have always believed that I am a born artist. I feel very happy and pleased in creating art works. Artistic works are closely related to lives so I have showcased what I have experienced and what I have loved in my works.
Vision: Given the current market situation, a multitude of artists have to cater to market trend. Have you ever thought about the issue in this regard? Aige: Artists are sure to be imprinted with characteristics of times whenever they are born. Besides bearing in mind popular characteristics of contemporary times, wise artists should also showcase their individualities by exploring lives, which I believe, is classical fashion. On a personal note, I prefer low-key extravagance. I researched some of friends’ knowledge and understanding of fashion on Internet a couple of days ago and findings were much unexpected as people came up with very different answers. Beyons: Fashion is incited fervor. Haijie: Fashion equals to happiness. Ouyang Jingjing: Fashion represents personalities. Zhiheng: People have to keep changing with the development of society. Shuyan: Fashion means a heart of self-confidence and self-respect. Zhangkun: Fashion is the imagination of the talented few, and the lack of imagination of the majority. Zou huilin: I have no idea of what fashion is all about. I am dazzled and impressed by the power of fashion when looking back on classics. Kingsley: To my perspective, fashion is respect, admiration, understanding of the current times. Ling: Fashion means creating your own style and showing off yourself in an appropriate manner. Lanny: I believe fashion means to do whatever you want to do. Xu jingzhen: Fashion is the common understanding of beauty by the majority and reflects the current popularity. Yangqing: Fashion means comfort and you do not need to care what others think. Vivi: I think fashion is the clothing you wore. Almost all brands will come up with the same clothes in a couple of years. Chenying: Fashion means being natural and comfortable.
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Wife of Chenjun: Fashion means a life attitude of being intelligent, passionate and relaxed rather than following trends.
of spirit of times, which also over-enhances status of artists. How do your view the job of being an artist?
Jing: Fashion is represented by having a trendy pig-tail.
Aige: The title of “artist” sounds to be very refined, but to my perspective, it is more or less like working as a worker who is busy with grinding and polishing materials all the time when making my sculptures. I used to hate the job because the work was both dirty and tiring and you could hardly support yourself. The only thing has made me happy is I am always looking forward to final works excitedly. I have been pursuing art creation earnestly until I am recognized by others one day.
Yang dongxia: It aims at expressing your personalities. Qiao yanjun: Fashion means to be a leader of life. Tung－lu：Fashion is life. Fangwen: New, trendy and young. Lele: Fashion is symbolic of popularity. Li desheng: Live your own way, you are the center of the stage of your life. Fashion? Go to hell!. Xu yinlan: Fashion means being yourself, confident and self-important. Snoopy:：It is what people are crazy about, such as popular art works and activities. Wangyan: Fashion represents what is popular now. Zhang chunyi: Fashion means something unreliable and unnatural that is loved by the relatively few with superiority.
Vision: I would like to know if there are any artists who have exerted great influence on you and what kind of influence it is? Aige: I favor simplicity by Modigliani, sadness expressed by Gustav Klimt, precision and purity of Duchamp. I like Buddhism ideology as well. Sometimes, I am excited at way of expression by Dali and Andy Warhol. But I am convinced that I have my own way of expression instead of being influenced by these renowned masters. Vision: Where do you draw your art inspiration?
Chenmo: I believe fashion has to be wild, unique, gorgeous, vigorous, shocking and sexy.
Aige: As what I said previously, life has inspired me a lot so I am of the view that your works are demonstration of your emotions and feelings. A colorful life gives birth to diversified and various art creations. I cherish good inspiration, which actually derives from accumulation of life experiences so you have to learn how to discover them.
Wuming: It is very unpractical and imaginary.
Vision: What is your life now?
Zhuqiang: I feel it is more or less about what is advertised in TV and magazines.
Aige: I feel happy. But it does not necessarily mean that I live a wealthy life. I am very satisfied in doing things I love.
Mgchelsea: Fashion means the value except real function deriving from different background.
Jacky luo：Fashion represents beauty which is developed by the few. Kevin:：Fashion is about how to create beauty in your own style. Yafei: Fashion transcends any definitions. JinPan: You will come to understand what fashion is all about by enjoying the movie Lala, Go. I am lucky to live in such a great time when there are diversified ideologies and ways of expressions. Of course, I am not that kind of artist who endeavors to play up and exaggerate. Vision: Given your art experience, do you believe there is an art rule to follow in the art community? Aige: I believe artistic experience actually derives from inner and outer qualities of artists, which is conductive to creating art rule for artists. Vision: Contemporary artists seem to become idols
Vision: What do you think of your art road in the future? Aige: As long as I embrace the current opportunities, I will have future. I do not have too much thinking in this respect but I believe I have to work hard and strive to be a good person. Vision: I wonder whether you have ever considered turning to other ways of artistic creation when there are more and more usage of multimedia and new artistic ways in the contemporary art market. Aige: The diversity of artistic media makes people get lost very easily. I do not think there is anything wrong in using different artistic media. What really counts is that artists should be confident and brave enough to express what they have in their mind in a correct manner rather than how to express it.
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During Love Aluminium,，50cm, Edition of 20, 32 x 80 x 23cm
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Taiji No.7 Bronze,，40×22×60cm
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Taiji No.3 Bronze,，58×22×58cm
Opp: Taiji No.8
24×26×64cm
Finding Love Bronze,，50cm, Edition of 20, 44 x 70 x 23cm
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Taiji No.12 Bronze,，21×69×73cm
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Taiji No.11 Bronze,，40×25×58cm
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Taiji No.9 Bronze,，29×47×65cm
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During Love Bronze,，50cm, Edition of 20, 51 x 70 x 23cm
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Taiji No.15 Bronze,，26×57×70cm
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Taiji No.6 Bronze,，30×42×50cm
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Taiji No.9 Bronze,，29×47×65cm
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Taiji No.16 Bronze,，40×26×68cm
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Taiji No.13 Bronze,，24×26×64cm
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Taiji No.14 Bronze,，50×35×66cm
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Love No.8 Bronze,，24×26×64cm Bronze,，100cm Taiji
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Taiji No.2 Bronze,，59×19×60cm
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Taiji No.10 Bronze,，25×22×63cm
Finding Love Bronze,，50cm, Edition of 20, 44 x 70 x 23cm Taiji No.5 Bronze,，20×28×63cm
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Taiji No.3 Bronze,，58×22×58cm
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Taiji No.15 Bronze,，26×57×70cm
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Taiji No.7 Bronze,，40×22×60cm
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Taiji No.12 Bronze,，21×69×73cm
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Taiji No.11 Bronze,，40×25×58cm
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Taiji No.1 Bronze,，53×24×56cm
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WOMEN & CAT
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Finding Love Aluminium,，50cm, Edition of 20, 44 x 70 x 23cm
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No.15 09 Cat Bronze,，48×30×60cm
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Dream Will Come 2008, Bronze,，18x19x70cm
Finding Love Bronze,，50cm, Edition of 20, 44 x 70 x 23cm No.4 08 Cat Bronze,，25×35×34cm
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09 Woman With Cat Bronze,，72×56×43cm
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08 Cat No.2 Bronze,，19×25×70cm
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08 Cat No.1 Bronze,，26×27×65cm
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BIOGRAPHY Xie Aige, Born in 1977 year,Hunan province China, she graduated from the Shanghai Fine Arts college. Xie Aige, has been exhibiting extensively in both China and overseas international museums including solo exhibitions in Shanghai Duolun Museum and Germany Crailsheim Museum. Her works are collected by many institutions including Shanghai Park Hyatt, Beijing Capital Airport, Shanghai Hongji Group, People’s Bank of Italy, Shanghai Sculpture Art Center. She currently stays and works in Shanghai. She is currently a member of the Shanghai Sculpture Society and her artworks have been featured in multiple publications including “Contemporary Modern Art”, “Outstanding Young Artist Publication” among others.
SCULPTURE COLLECTION Beijing Capital Airport Shanghai World Financial Center International Shanghai Duolun Museum of Modern Art Shanghai Mingyuan Art Center Shanghai Park Hyatt Hotel Shanghai Hongji Group People’s Bank of Italy Shanghai Sculpture Art Center Gansu LanZhou GuCang Art Museum
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Exhibitions 2010
“Ceramic woman” Art Exhibition ,Germany Crailsheim Museum
2009
Xi An Contemporary Female Art Exhibition. China, Korea Art Exchange Exhibition “Habitat Heart” Solo Exhibition, Shanghai Dazzled and Enchanted New Age Animamix 2009-2010, Guangdong Museum
2008
Solo Exhibition Singapore, Ode To Art Shanghai Sculpture Art Center Redtown Salon – Happy Land Shanghai Sunart Gallery — self cultivation & refinement LanZhou GuCang Museum — talk together
2007
Shanghai Youth and Midlife Artists commending exhibition Shanghai Duolun Museum of Modern Art — “A Peaceful Nature” Sculpture Solo Exhibition, organized by Ode To Art
2006
German Consulate General Shanghai — A Feminine World inClay and on Paper
2005
Super Brand Mall Autumn Art Show: Shanghai International Biennial Urban Sculpture Exhibition 2005 Vision Express - 2005 Shanghai Youth Biennial Exhibition Exhibition — I Have A Date With Spring Exhibtion of Natural Instincts; Metal, Wood, Water, Fire, Soil.
2004
Shanghai university — Chinese & korean Ceramic Art Exchange Exhibition
2003
Shanghai Spring Art Salon — Xie Aige Ceramics Exhibition
2001
International Ceramic Art Exhibition, Yixing China
81
TAIJI XIE AI GE first published 2010 by Ode To Art Contemporary
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Š ode to art contemporary 2010 All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. book design Interactive Armada
measurements of artworks are given in centimeters printed and bound in singapore isbn 978-981-08-7900-6
ISBN 978-981-08-7900-6
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