Exhibition: Multiple Perspectives – New Works by Xie Xiaoze

On 05/09/2013 by Site Default

Chambers Fine Art is pleased to announce the opening on September 7, 2013 ofMultiple Perspectives: New Works by Xie Xiaoze. Born in Guangdong, China in 1966, Xie Xiaoze graduated from Tsinghua University and the Central Academy of Arts and Design, Beijing before moving to the United States and settling in Texas where he continued his studies in a very different environment. He is currently the Paul & Phyllis Wattis Professor in Art, Department of Art & Art History, Stanford University, California, USA.

As a realist painter by vocation, early in his career Xie found a way to combine his passionate interest in Chinese history and current world events with more formal concerns by focusing on the materials stored in archives and library stacks as the subject matter of his paintings. Every three or four years Xie has widened the scope of his thematic material, an adjustment that frequently requires a reconsideration of the emphasis placed on verisimilitude and abstraction in the individual works.

For the current exhibition Xie expands the range of his source material by bringing it completely up to date with images drawn from Weibo. As with most of his exhibitions, however, newly conceived material is seen to grow out of earlier pre-occupations and this is the case with Multiple Perspectives.

One gallery will be devoted to new works from the Chinese Library series, painted while Xie was living in Beijing on the Stanford Beijing Overseas Studies Program in 2012. While departing from photographic source material as is normally the case, two monumental paintings – Chinese Library No. 54 and Chinese Library No. 55 – verge on abstraction, transformed by Xie’s bravura handling of his materials.

A second gallery will contain paintings from the Both Sides Now series which departs from newspaper pages in which images from the reverse have bled through to the front. Using a complicated process and painting in both oil and acrylic, Xie achieves richly layered effects that convey the saturation with information characteristic of modern society. The tragic and the trivial co-exist within the confines of each canvas.

Inevitably, perhaps, Xie turned to Weibo as the most current means of conveying the kind of information and opinions that used to be conveyed through books and newspapers.  Far more immediate in effect than printed media, and arguably more powerful in impact, Weibo required Xie to consider various ways of using this imagery in the most effective way. Painted in oil on aluminum panel rather than on canvas, Xie’s Weibo-derived panels will be installed in a random fashion on walls painted with details of pixelated, illegible images.



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