In my point of view, the 30 years of modern ink explorations can be further divided into several stages of experiments on form, language and culture. Huang Guowu’s own continuous exploration starting from the late 1980s extending to this very day is in the same pace with this trend. There are few like Huang, whose own contemplation and art practice and each individual period of art innovation can clearly reflect the traces of the historical evolution. This forms the premise of taking him as a typical case in the research for new era contemporary ink art and the origin of the topic “Juxtaposition” of this exhibition.

In the past two years or earlier, Huang Guowu’s modern ink creation has undergone many surprising changes. In his series of Travelling in Shenzhou (China), juxtaposition of traditional pastoral landscape and modern consuming culture, of conventional-styled brushstrokes and ink and the sensory stimulation represents the reality, but at the same time appears to be surreal. It is logical yet against logic. With his language of the “post-modern” ink, Huang successfully personalized the conventional ink expression with his own experience, enabling him to find an oasis of tranquility and build a shelter for the sole amid hustle and bustle of modern society.

Huang’s Traveling in Shenzhou series drives us to wonder: can the traditional path continue to exist after the historic conditions are transformed? Is there a way for the traditional ways to live on and have practical impact in the new ages? How can traditions be expressed poetically? These are the problems our artists face today and may be the ways for us to restore the mortal pains.
- Pi Daoxian

*image (left)
Huang Guowu
Wolong Rock, 2013
Ink on paper, 226×193cm
courtesy of the artist