View In Room
View In Room
Mixed media on recycled window
Dimensions: 102cm (H) x 125cm (W) x 4cm (D) / 40.2" (H) x 49.2" (W) x 1.6" (D)
Note: Actual colours may vary due to photography & computer settings.
Borrowing inspiration from everyday life, history and religion, film and photography, advertising and internet, Wang Haichuan lets his works speak an eloquent and expressive language.
Painting allows Wang Haichuan to construct a kind of atmosphere that lets the viewer escape the chaos of reality and enter a perfectly ordered world within a work of art.
The word “surrealist” is on the tip of the tongue when one is looking for the word to describe his works that do remind us of dreams. Such description would suggest that the artist, bypassing
reason and rationality, applies a sort of collaging method that offers the use of free association to reflect the workings of the unconscious mind.
Image-elements that appear in Wang Haichuan’s paintings are diligently filtered and selected to narrate the story that the artist intends to share with the viewer.
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Based in: Beijing, Chongqing
Wang Haichuan (王海川) was born in 1968 in Jilin Province, China and currently lives and works between Beijing and Chongqing.
In 1997 he graduated from the Sichuan Fine Arts Institute, with a major in Visual arts. He used to work in the field of architecture and landscape for many years and became widely recognized as a visual artist. Wang Haichuan’s works destroy the superficial characters of private lives and a harmonious society. He attempts to demolish the trace of reality and replace it with relics of time. His works were featured in solo-, as well as group-exhibitions and art fairs within China and abroad.
Wang Haichuan’s installation Seven Days (2013) is exhibited at the 11th Shanghai Biennale “Why not Ask Again: Arguments, Counter-arguments, and Stories”, which is curated by the Dheli-based artist and curatorial group Raqs Media Collective. This thematic exhibition explores the turbulences and transports of our time. His work features collected furniture that was discarded within seven days by former residents of copper manufactory workshops in Chongqing. It has its origins in Wang’s Tongyuanju project, which was initially an art education plan to include the community into various art projects, that later turned into a series of works within this community in Chongqing, showing a typical example of China’s urbanization process. Wang creates a sort of confession room — odd arrangements manifesting distances between life and power.
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