View In Room
View In Room
Acrylic on tibetan paper
Dimensions: 50cm (H) x 50cm (W) / 19.7" (H) x 19.7" (W)
Note: Actual colours may vary due to photography & computer settings.
Through those drawings, or rather through the compilation of those images in his drawings, Wang Haichuan dug deep into the proper thinking or outlooks that contemporary generation ought to have towards the present society. In another words, what makes art modern lies in its capacity for prompting assessment and thinking on the living environment of mankind.
With his adept mastery of drawing techniques and by taping into the structure of Japanese Ukiyo-e, Chinese folk drawing and Persian miniature, Wang Haichuan was able to introduce to his Tibetan paper drawing a new style different from the common schematic style drawing, bringing rich fragment stories to the audience.
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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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