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emilyc

A Very Loud Quiet

Following on the heels of first generation 20th century Chinese colorists, Chen Ruo Bing is seen as a pioneer of color in the Chinese field. The artist sees color as a subliminal form of communication, a form that is stronger than spoken language. As the artist says himself, "Form and color are visual artists' thinking tools."

Forming a striking contrast to the minimal white walls of the Wellside Gallery and arranged over three floors, the works feature geometric shapes and patterns arranged on monochromatic backgrounds. Color stands out as being of a great importance. The use of acrylic paint creates flat, bright shades. In many of the works, hues such as bright green and carrot orange zing--luminous beacons radiating an intensity that is in your face and which in a way, belie the exhibition's name. Intense colour contrasts means there is nothing silent about these shades. Yet others are muted in mauves and yellows, and shapes rise vaguely to the surface. Grays reflect shifting monochromatic tonal values. These have a kind of soundlessness-–numb, blank, expressionless. The colors combined with geometric forms that conjure up images of beams of light escaping or the strength of a color aura. The shapes are not harsh-–edges are softened; a rectangle curves gently at the top and triangles with rounded corners slip into organic forms. Backgrounds and foregrounds become indistinct.

Many of the canvasses are large and have a Rothko-esque feel, although not nearly as successful. Whereas Rothko's canvasses vibrate, many of these are still and mute. Smaller canvasses lack the impact of size.

Although large color field works often attract criticism for their simplicity, for a flash of color on a gray day in Shanghai, drop in for a change of scenery. -- Elyse Singleton, Issue 10, Art Review

3 months, 3 weeks ago