Gallery: Puerta Roja
Artist(s): Carlos Cruz-Diez, Fernando Prats, Javier León Peréz, Laurent Martin ‘Lo‘, María García-Ibáñez, Mariano Ferrante
Opening / Event Date: 27 Feb, 2019
Closing / End Date: 4 Jun, 2019
Parkview Art Hong Kong is pleased to present a curated selection of new paintings by Beijing Abstract artist, Feng Lianghong. Feng first explored abstract painting in the 1980s during his student days at the Shanghai Arts and Crafts College. Under the tutelage and mentoring of eminent artist Yu Youhan, Feng began to explore the possibilities abstract painting permitted, finding satisfaction in the artistic liberty abstraction offered. To this very day, that profound chapter of his life in Shanghai has remained critical to the artist.
Shortly after returning to his homeland in 2006 and setting up a studio in Beijing, Feng embarked on a journey in search of a fresh point of departure to his creative process. In 2008, he arrived at an idea he termed ‘Loose Abstraction’. For Feng, it was definitive of a new, contemporary abstraction; an abstraction that returned to the purity of abstract painting as a means to express the internal and the indescribable.
As a product of Western art, arising out of rebellion to centuries-old figurative art, abstract art of the early 20th century appeared original and exciting. It was unexplored territory and a necessary evolution. There was once a time when abstract art was shocking. However nearing the end of the century, modern abstract painting had seemingly reached a dead end in the West.
Seeking his own resolution to Western abstraction’s dilemma, Feng arrived at the conclusion that abstract painting is, at its essence, the objective expression of the materiality of the painting itself and simultaneously the subjectivity of its maker’s inner self. ‘Loose Abstraction’ is thus the term by which he describes this approach.
For Feng, abstract painting is an internalized conversation between artist and canvas. Perceiving the brush and pigments as extensions of himself, Feng allows his paintings to develop organically, responding to his feelings, and shaped by his surroundings. He believes artists need to seek deeper into what lies underneath the superficial representation of an image, of its form. In 2009, Feng published his essay theorizing ‘Loose Abstraction’, arguing for abstract painting to be both holistic and comprehensive. Just as Kandinsky iterated that “…form is the outward expression of the inner meaning,” Feng seeks abstract painting to be both an aesthetic outcome as well as a reflection of his inward thoughts. With this approach, abstract painting, according to Feng, is able to be complete and fulfil a purpose different to its predecessors of Western modern art. While Kandinsky drew direct parallels between rhythm and harmony in music and painting, Feng draws his own parallels, defining painting as existing concretely in space the way music exists as sound in time.