Interlude - A solo exhibition of Mavis Chan
2017.3.28 - 2017.4.5
How time manifest in painting?
When I resolve myself back to the basics. I look at entity and space in terms of coexistence, as
symbiology. Existence manifest itself between the expanse of vagueness that dances within the perimeter of space. Continuity is but a collection of intertwined dialogues between infinite dots that embraces the existence of entities. With every dot reach out for another in the immense vagueness of existence, what occupy our vision becomes a myriad of dots, lines, surfaces.
These are substances that occupy a painter’s mind, orchestrate her hands, and that give birth to forms, shapes.
But to me, if painting doesn't reflect life itself, it carries little meaning at all. I see life as collective events, and events is intrinsically a time relative entity. Entity and event are synonymous as do space as an interlude between event. We are all passengers of time, and the only way we perceive time is an infinity of interconnected dots, each a moment of life, and an interlude reaching another interlude. There is no beginning, no end.
Through color and strokes I capture the passages between moments of life, some are introspective while other may be merely spontaneous. The joy, the sadness, whatever it may come about, it is part of the moments of living and I register them into the painter’s diary.
(English Preface written by Kit)
Date：28th March - 5th April 2017
Venue：Sir Run Run Shaw Hall, The Chinese University of Hong Kong
Opening ceremony: 28 March 2017, 2pm
Opening hours：Mon-Fri 9am - 6pm/ Sat 9am - 1pm/ Public holidays Closed
Contact: email@example.com (Mavis Chan)
If moments is what draw our attention, the Artist wants Interlude to explore the inner-existence between moments.
Retaining the spirit of “Living and Art as one” and “Evolving but stay true to Classical Chinese core”, the Interlude builds upon the foundation of the Inkling of the Heart. The Interlude is a quest to explore a new paradigm, celebrating the essence of elegance, subtlety and yin-yang of the traditional aesthetics in Chinese painting. The Artist draws inspiration from colors and subject compositions of ukiyo-e style and contemporary illustration techniques, breaking away from the accustomed theme of heavily landscape and nature focus of classical Chinese art. These collections of small pieces capture the culture, living and religion of the contemporary society. Through these works, the possibilities of the contemporary Chinese art are reintroduced. Meanwhile, the Artist hopes to present the audiences who accustomed to common notions of Chinese painting traditions with a fresh and new interpretation through the small piece style of the artistic creation.
(English Intro written by Kit)
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