Gallery: Art of Nature Contemporary Gallery
Artist(s): Pierre Carron, Rémy Aron, Marc Tanguy, Natalie Miel, Lam Man Kong, Cang Yuan
Opening / Event Date: 15 Sep, 2021
Closing / End Date: 10 Dec, 2021
‘Double 囍 Happiness’
Opening Ceremony: Feb 14, 2014 / 7:00 – 11:00PM
Exhibition Duration: Jan 8 – Feb 28, 2014
Venue: sin sin fine art, 52-54 sai street, centraltrue true
In Chinese belief, “Good Things Come in Pairs”, which depicts the meaning of ‘Double囍Happiness’. In 2014, The ‘Yuan Xiao’ Festival or the Chinese Valentine’s Day falls on the same day as the Western Valentine’s Day. The last of this rare occasion happened 19 years ago. To celebrate this beautiful and romantic day, Sin Sin Man cordially invites you to join the ‘Double囍Happiness’ ceremony will be held on Feb 14, from 7:00pm to 11:00pm.
We would like to share some historical background of Sai Street. In 1920, Sai Street was a district for Chinese theatrical and musical troupes. Many brothels in the red-light district kept singsong girls and musicians, and most of the brothel madams trained their own daughters as singers. Sai Street has a vivid history of music and Chinese opera. Sin Sin would like to bring this vivid history back to life by performing Chinese opera.
Accompanied by a group of professional musicians, Sin Sin Man冼倩文 will be performing with three amateur opera singing sisters, Lyew Chin Wai廖千慧, Ma Lyew Chin Yui馬廖千睿, and Lyew Hui Ting廖栩廷, who have over 30 years of opera singing experience. It is an honour for us to have Mr. Ng, Lut Kwong – Head of Playwriting and Scriptwriting and Acting Head of Music (Chinese Opera) at The Hong Kong Acadermy for Performing Arts as our special participant in the performance. Sin Sin has been performing Chinese Opera in many venues, but this will be her first time to perform in her own art space!true
You will enjoy a lively traditional Chinese Opera performance by Sin Sin Man and her friends, while surrounded by beautiful artworks by Fung Ming Chip, Jumaldi Alfi, Kokok P Sancoko, Nasirun, Sun Guangyi and Vincent Cazeneuve (Wensen Qi); a double enjoyment!
Nasirun was born in Cilacap, Central Java in 1965 and studied painting at the Indonesia Institute of the Arts Yogyakarta (Institut Seni Indonesia). He currently lives and works in Yogyakarta. Magically and almost manically creative, Nasirun moves freely between painting, carving, sculpture, drawing, installation, gardening, collecting and restoring as he invents a colourful mythological world of his own creation–with himself as the questing figure at its centre. The conceptual and formal materials of Nasirun’s exuberant creations are drawn from the spiritual and cultural realms that resonate most strongly with him. His work is infused with themes reflecting his deep belief in Muslim spirituality; his identification with the moral narratives and visual symbolism of the wayang kulit puppet theatre traditions which are integral traditions within Indonesia; and his passion for the creative spirit of the people. In his own words, Nasirun ‘uses the brush to pray.
Kokok P Sancoko
Born in Nganjuk East Java, Indonesia on the 5th June, 1974 and educated at Indonesia Institute of Art, Yogyakarta, Indonesia.
Kokok applies his realistic painting techniques on his works, and at the same time creates the beauty of fantasy. He paints a particular part of the object microscopically, with impressive details, and at the same time leaves white spaces around, which bring viewers to a new visual experience between reality and fantasy and create rooms for the viewer’s imagination and express the loveliness of abstraction.
Born in 1972 in Lintau, West Sumatra, Indonesia He is a cofounder and member of Jendela Art Group who in the early phase of their careers, surprised art audiences in Indonesia with their works that were very much removed from socio-political themes while being also removed from the kind of works capitalizing on the technical sophistication of realist painting. Instead, they showed inclination for extreme naïvism in the form of meaningless ‘doodles’ or formalism – that was also extreme – by drawing exclusively on minimal visual elements of line, color and texture. In 2010, he co-founded the Artists Collective, Office: For Contemporary Art International in Yogyakarta, Indonesia.
Born 1967 in Liaoning Province, Mengzhou City, Sun took great interest in painting at a young age. In 1983 he attended the Shenzhou Art Academy and studied traditional Chinese painting and calligraphy, graduating from the Liaoning University of Art and Culture. Having been to the Beijing Yuan Ming Yuan (‘Garden of Perfect Brightness’, Artist Village), Sun experienced the greatness of the Eastern philosophy, as well as the great scriptures and the old masters. The experience (in the Artist Village) cleansed his soul and made Sun realized the vastness of the universe. The style of his works have been influenced by his being a devoted Buddhist and hence a vegetarian since 1998, following a Buddhist Monk from the Himalayas.
Vincent Cazeneuve (Wensen Qi)
Born in 1977 in South of France (Toulouse), Wensen Qi (Vincent Cazeneuve) studied at Ecole des Metiers d’Art in Revel with an expertise in wood cabinet making, marquetry and gilding. After graduation, he opened his own atelier specialized in restoration of Asian and Western lacquer ware.
He has engaged in lacquer painting since 1990, though he participated in a lot of exhibitions as a performing artist, the lacquer painting acted like a strong magnet to him. It is known, lacquer painting is one of the most ancient art in China. So Wensen committed himself to living in China and with his own language to deciphering the work of lacquer, learning and drawing lessons from traditional Chinese lacquer paintings. Simultaneously he put his own creativity into Chinese traditions, mixing elements of the Western modern art. Wensen was deeply touched by natural objects, natural beauty that contains endless stories, mysteries that he would like to recount. The concerns to history and aspirations to eternal let him choose Chinese lacquer as his tool of expression. Chinese lacquer can bear thousand years and still remain bright and resplendent. Wensen uses abstract words to manifest unconscious nature. Except for Chinese lacquer, he worked, hand-painted, pasted with various materials of nature, such as mud, linen, silver, gold, tin, lead, shells, stone, wood, cement and so on. He uses open and random presentation techniques that make the mediums express themselves and become a part of the painting content. Then he embeds or scatters or rubs or draws the images shown on wood. In addition to using comprehensive materials, Wensen adopts different texture effect, including lithography engraving, relief piling, mosaic collage and incrustations, giving people abundant tactile feelings.