PRINTILLUSTRATED:
Hwang Jyi, Galerie Elegance, Taipei, color illustrated, 1996, pp. 174-175 & p. 211
Hwang Jyi, Galerie Elegance, Taipei, color illustrated, 1996, pp. 174-175 & p. 211
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Slide
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1992 - 1996 Oil on canvas 200 x 162 cm Signed lower right Jyi in Chinese and dated 1992-96 |
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Estimate
220,000 - 320,000 924,000 - 1,345,000 28,400 - 41,200
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Catalogue Note:
SLIDE
HWANG JYI
Hwang Jyi is good at portraying people in his works, and has developed a series of dreamlike surrealist paintings, he once said there is no need of courage to dream, but one will need to have courage to realize the dream, indeed, theses fantasized plausible scenes often appear in dreams; the combination of odd characters, bizarre scenes, locations, gestures taking place in dreams are irrational. Hwang Jyi carefully constructed the canvas by misplacing, dislocating, and mixing the fragments of scattered hidden pieces together into one, it is surreal yet reality simultaneously.
In the painting of Slide, the top and the bottom is painted with film-like borders making it a resemblance of a slide; a slide indicates its association with a piece of memory, a memorable, temperamental moment, yet critical to the mind. The painting gathered three men, with one of the man dressed in white on the left side, with his face covered in white paints and his eyes closed, slightly raising his right arm towards the tree bark, then fading out into the white background. On the opposite side, there is another man in black appeared curiously with his upper body slightly slanted towards the outside, yet with his eyes shut not being able to see anything. A man wearing a mask is wrapped in sky blue robe, surprisingly with both of his eyes wide open, he has no facial expressions but seems to be searching for something. There are two bird-like creatures situated casually, freely on the canvas, are they having a beautiful dream or choosing not to face the cruel reality?
Hwang Jyi has expressed his admiration of Max Ernst (1891-1976), one of the leading Surrealists born in Germany. In the background of Slide, there is a colorful area combined in patchwork pattern in geometric shapes situated behind the man dressed in white on the left-hand side, one cannot help to notice the resemblance of the work of Ernst A Swallow’s Nest in 1966, does this represent that Hwang has kept a secret space for the great master like Ernst?
The mise-en-scène in Hwang Jyi’s painting is filled with theatrical lighting, make-ups and dressings, as if they are presenting a mime show, wearing a mask is one of the typical prop being used in the show; exaggerated expressions are shown upon pure white skin, actors rely heavily on their acting to bring out the show. Even though the painting of “Slide” is situated in stillness, it is almost possible to see that the slide show could move to the next slide in order to complete the show. Because of a series of irrational combination and fragments of elements are placed in one scene, the painting is open to multiple interpretations.
HWANG JYI
Hwang Jyi is good at portraying people in his works, and has developed a series of dreamlike surrealist paintings, he once said there is no need of courage to dream, but one will need to have courage to realize the dream, indeed, theses fantasized plausible scenes often appear in dreams; the combination of odd characters, bizarre scenes, locations, gestures taking place in dreams are irrational. Hwang Jyi carefully constructed the canvas by misplacing, dislocating, and mixing the fragments of scattered hidden pieces together into one, it is surreal yet reality simultaneously.
In the painting of Slide, the top and the bottom is painted with film-like borders making it a resemblance of a slide; a slide indicates its association with a piece of memory, a memorable, temperamental moment, yet critical to the mind. The painting gathered three men, with one of the man dressed in white on the left side, with his face covered in white paints and his eyes closed, slightly raising his right arm towards the tree bark, then fading out into the white background. On the opposite side, there is another man in black appeared curiously with his upper body slightly slanted towards the outside, yet with his eyes shut not being able to see anything. A man wearing a mask is wrapped in sky blue robe, surprisingly with both of his eyes wide open, he has no facial expressions but seems to be searching for something. There are two bird-like creatures situated casually, freely on the canvas, are they having a beautiful dream or choosing not to face the cruel reality?
Hwang Jyi has expressed his admiration of Max Ernst (1891-1976), one of the leading Surrealists born in Germany. In the background of Slide, there is a colorful area combined in patchwork pattern in geometric shapes situated behind the man dressed in white on the left-hand side, one cannot help to notice the resemblance of the work of Ernst A Swallow’s Nest in 1966, does this represent that Hwang has kept a secret space for the great master like Ernst?
The mise-en-scène in Hwang Jyi’s painting is filled with theatrical lighting, make-ups and dressings, as if they are presenting a mime show, wearing a mask is one of the typical prop being used in the show; exaggerated expressions are shown upon pure white skin, actors rely heavily on their acting to bring out the show. Even though the painting of “Slide” is situated in stillness, it is almost possible to see that the slide show could move to the next slide in order to complete the show. Because of a series of irrational combination and fragments of elements are placed in one scene, the painting is open to multiple interpretations.