A dual exhibition featuring works by Liang Quan and Wu Shan is presented by Hunsand Space

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TEXT：CAFA ART INFO DATE： 2022.12.8

Hunsand Space (Beijing) announces a dual exhibition, "Mandarin · Tangerine ", by the artists Liang Quan and Wu Shan opening on 10 December 2022. Both mandarins and tangerines are from the south of China, they are all sweet but have slightly different tastes. The exhibition uses the names of these two fruits as a metaphor for the different painting languages and senses that the two artists present in their shared aesthetic sphere.

The source of Liang Quan's works is generally derived from the scenes of life that can be seen everywhere, his own memories of a certain moment, and the projection and refinement of the real world. There are roughly three directions in the painting language of his works: 1 - the tea stains left behind when drinking tea being used into the paintings; 2 - the geometrical collage distilled from reality; 3 – the combination of the above two mediums. Repetition and collage is an expression of Liang Quan's use of concrete 'realism' to get infinitely closer to 'emptiness', as he himself describes this 'emptiness': "I chose a blade of grass in the middle of the carpet-like lawn. I stared at it for half a minute, then moved my eyes away, and in just a moment I could not identify it again from the green - the world was so detailed and real that everything seemed negligible."

Liang Quan, Crisp Sound, Color, Ink, Rice Paper Collage, 65x50cm, 2020-2022.jpeg Liang Quan, Crisp Sound, Color, Ink, Rice Paper Collage, 65x50cm, 2020-2022.Liang Quan, Youyu,Color, Ink, Rice Paper Collage, 65x50cm, 2021-2022.Liang Quan, Zuoyun, Color, Ink, Rice Paper Collage, 65x50cm, 2020-2022.

From the very beginning, Wu Shan used lacquer, a material with traditional richness, but he did not fall into the usual oriental aesthetic routine. As a material, lacquer is a material for him: 1- Lacquer emphases on making process; 2-Making lacquer is very precise ; 3-Lacquer is very stable once it is formed. Facing these characteristics of this material, Wu Shan is restrained and rigorous in incorporating the "thread", allowing the lacquer to hold the "thread" up. In this process, the thread becomes more and more restrained and slender, and when the thread reaches the point of no return, the inevitable lightness of the 'real' emerges, and we can then enter the aesthetic world of freedom and ethereality.

Wu Shan, Guichaohuan, Lacquer, Hemp, Board, 40 x 30cm, 2022..jpeg Wu Shan, Guichaohuan, Lacquer, Hemp, Board, 40 x 30cm, 2022.Wu Shan, Liuzhuan, Lacquer, Hemp, Board, 40 x 30cm, 2022.Wu Shan, Yueergao, Lacquer, Hemp, Board, 60 x 50cm, 2021.