PRINTILLUSTRATED:
Hwang Jyi , Galerie Elegance, Taipei, color illustrated, 1996, pp. 16, 165, 166 & 202
Hwang Jyi , Galerie Elegance, Taipei, color illustrated, 1996, pp. 16, 165, 166 & 202
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Childhood
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1992 - 1993 Oil on canvas 162 x 130 cm Signed lower right Jyi in Chinese and dated 1992-93 |
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Estimate
850,000 - 1,300,000 210,000 - 321,000 27,100 - 41,400
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Catalogue Note:
CHILDHOOD
HWANG JYI
Hwang Jyi graduated from National College of Arts (Current National Taiwan University of Arts) in 1974, and was awarded with the first prize for the national oil painting competition. Hwang Jyi’s artworks were selected to be shown in the 1989 L'Ecole Nationale Supérieures des Beaux-Arts exhibition in Paris. Hwang Jyi didn’t stop creating because of self-satisfaction; on the contrary, he devoted his time in challenging himself and grew steadily with new breakthroughs. In his second solo exhibition in 1989, Hwang Jyi has shifted his works to less rational and metaphorical ways of expressions. From the beginnings of 1990, Hwang began to experience painting human form with inflated proportions, emphasizing volume and weight of his figures. Yet, there was a tendency towards flatten image since 1993, Hwang Jyi continued to explore alternative ways of expressing.
In most of Hwang Jyi’s artworks, viewers are drawn into a Surrealist space in participation of a magical show, due to its theatrical usage of colors and composition. Hwang Jyi’s father was a poet who was actively in attending poetry contests, and took Hwang Jyi with him, this special childhood experiences has allowed Hwang Jyi to dream wildly; Hwang Jyi was backed with encouragement of the family, he was exposed to wider scope of perspectives, allowing him the space and freedom of expressions. Just as seen in “Childhood,” we could see a projection of his joyful childhood memories. Unfortunately, the happy times spent with his family was short-lived after his family members passed away when Hwang Jyi was young, he was soon forced to grow into the relentless world of reality. Hwang Jyi was left with his paint brush and canvases, in which they became the temporary haven for him to escape the pain of loss. The harsh i mpact of the world plus the amount of grief have had a strong infuences over Hwang Jyi’s works, in addition to the contradictory emotions tearing up the rational and the irrational minds of the two.
“Childhood” was one of series created in 1992-1993 when Hwang Hyi was seeking the bulky, inflated forms as a way of portraying things. Fernando Botero is one of the most renown artists known for his plumped, exaggerated human forms, we see a ballerina practicing her moves in the work of “Dancer at the Barre” created by Botero in 2001. The ballerina was able to demonstrate high level of flexibility and confidence, the swollen body did not have any influences over her elegant move of her leg above her shoulder. In comparison, the boy from the work of “Childhood“ raising his leg like that of the ballerina, with an odd facial expressions on his face, seemed bizarre and mischievous at the same time. The limbs are formed in cylindrical shapes in both of the animal and the boy, highlight the volume of both subjects, yet, it also brings our attention to question wh ether the bulkiness was solid or only on the surface. The animal is composed of mixed features of goat, horse and tiger, not knowing what this is, is perhaps a reflection of the mixed feelings of the artist, as an self reflection and self-mockery.
HWANG JYI
Hwang Jyi graduated from National College of Arts (Current National Taiwan University of Arts) in 1974, and was awarded with the first prize for the national oil painting competition. Hwang Jyi’s artworks were selected to be shown in the 1989 L'Ecole Nationale Supérieures des Beaux-Arts exhibition in Paris. Hwang Jyi didn’t stop creating because of self-satisfaction; on the contrary, he devoted his time in challenging himself and grew steadily with new breakthroughs. In his second solo exhibition in 1989, Hwang Jyi has shifted his works to less rational and metaphorical ways of expressions. From the beginnings of 1990, Hwang began to experience painting human form with inflated proportions, emphasizing volume and weight of his figures. Yet, there was a tendency towards flatten image since 1993, Hwang Jyi continued to explore alternative ways of expressing.
In most of Hwang Jyi’s artworks, viewers are drawn into a Surrealist space in participation of a magical show, due to its theatrical usage of colors and composition. Hwang Jyi’s father was a poet who was actively in attending poetry contests, and took Hwang Jyi with him, this special childhood experiences has allowed Hwang Jyi to dream wildly; Hwang Jyi was backed with encouragement of the family, he was exposed to wider scope of perspectives, allowing him the space and freedom of expressions. Just as seen in “Childhood,” we could see a projection of his joyful childhood memories. Unfortunately, the happy times spent with his family was short-lived after his family members passed away when Hwang Jyi was young, he was soon forced to grow into the relentless world of reality. Hwang Jyi was left with his paint brush and canvases, in which they became the temporary haven for him to escape the pain of loss. The harsh i mpact of the world plus the amount of grief have had a strong infuences over Hwang Jyi’s works, in addition to the contradictory emotions tearing up the rational and the irrational minds of the two.
“Childhood” was one of series created in 1992-1993 when Hwang Hyi was seeking the bulky, inflated forms as a way of portraying things. Fernando Botero is one of the most renown artists known for his plumped, exaggerated human forms, we see a ballerina practicing her moves in the work of “Dancer at the Barre” created by Botero in 2001. The ballerina was able to demonstrate high level of flexibility and confidence, the swollen body did not have any influences over her elegant move of her leg above her shoulder. In comparison, the boy from the work of “Childhood“ raising his leg like that of the ballerina, with an odd facial expressions on his face, seemed bizarre and mischievous at the same time. The limbs are formed in cylindrical shapes in both of the animal and the boy, highlight the volume of both subjects, yet, it also brings our attention to question wh ether the bulkiness was solid or only on the surface. The animal is composed of mixed features of goat, horse and tiger, not knowing what this is, is perhaps a reflection of the mixed feelings of the artist, as an self reflection and self-mockery.