│EXHIBITION

Modernist art refers to the various avant-garde art movements and ideologies that emerged in the 20th century. Before modernism, the role of artists was to depict the world as we see it. However, during the modernist era, the act of representation became art's focus. Art turned inward, becoming the subject of its inquiry. From Post-Impressionism to Abstract Expressionism, the way paintings represented the world changed significantly with each style, and every period was somewhat a reaction against the one before. In modernism, art was elevated to a new level of consciousness, which in painting led to a break from traditional representation. Imitation became secondary, and the focus shifted to reflecting on the methods and tools of representation.

In contrast, during the “May 1968” movement in France, there was a call to embrace both old and new forms of art, without opposing the avant-garde, but to redefine it by reaffirming the expressive content of visual arts and emphasizing the communicative function of art.

In the 1970s, overseas Chinese artists Chan Kin Chung, Chen Ying-De, Christopher Cheung, and Leung Siu Hee settled in Paris during cultural transformation, as the Western world transitioned from modernism to postmodernism. They witnessed the development and shifts in contemporary European art. The exhibition "Realism" offers a glimpse into their artistic journeys through the fusion of different perspectives.

Chan Kin Chung (陳建中, b. 1939)

Chan moved to France in 1969, a time when Abstract Expressionism was at its peak. In the 1970s and early 1980s, he developed his Composition Series, drawing inspiration from often overlooked details like broken doors, rusted windows, or chipped walls. While these subjects may seem insignificant to others, Chan found in them a profound and solemn beauty, echoing Daoist philosophy. He saw the true nature of time and existence in these humble objects, reflecting this vision in his abstract paintings.

In 1984, Chan shifted his focus to landscape painting, aiming to revive the traditional role of fine art. His goal was not to achieve photorealism but to capture the spirit and essence of the subject. His mastery of light and color allowed him to craft poetic atmospheres, creating paintings that emphasize mood over form, a key characteristic of the aesthetic shifts in the 1980s.

Chen Ying-De (陳英德, b. 1940)

Chen Ying-De’s realistic technique draws from the elegance and poetry of French classicism. His work skillfully uses dramatic lighting and chiaroscuro to create a sense of timelessness and depth. French art critic Marc Gaillard once compared Chen's works to those of Georges de La Tour, noting how his scenes merge day and night.

Chen is captivated by the art of the past, preferring timeless quality over fleeting trends. In his classical depictions of nature, Chen evokes a primal and eternal landscape. His use of color is inspired by Chinese ceramics, mixing shades of blue with ink-like hues reminiscent of traditional Chinese painting. Chen seeks to create serene, refined works with a smooth surface, reminiscent of Song dynasty porcelain. His work, Blue China, showcases this mastery, blending historical Chinese aesthetics with modern techniques.

Christopher Cheung (張漢明, b. 1945)

Christopher Cheung’s works, such as Fish (1992) and Masks (1998), often incorporate elements of Chinese culture, including chess pieces, porcelain, and Beijing opera. His realistic style creates vivid and detailed depictions of these subjects, but beneath the surface lies a deeper layer of meaning. His works often explore philosophical questions, reflecting on history and culture. While his paintings may seem to play with hyper-realistic techniques, they ultimately aim to provoke thought about cultural identity and human existence.

Growing up in colonial Hong Kong and living away from his native culture for many years, Cheung's work reflects both familiarity and distance with Chinese traditions, adding a unique layer of complexity to his art.

Leung Siu Hee (梁兆熙, b. 1953)

Leung Siu Hee’s style is deeply influenced by both Eastern and Western techniques. He often depicts decaying flowers, ethereal horses, and vibrant life emerging from darkness. Using charcoal, watercolor, and pastels, Leung explores the cyclical nature of life and death, infusing his work with the spirit of traditional Chinese ink painting.

Leung blends realism with abstract elements, using non-representational techniques to create texture and atmosphere. His works move between the concrete and the abstract, deepening the sense of life and energy in his pieces. For him, art is a journey of the soul, where the passage of time leaves behind traces of beauty.

In conclusion, art is an eternal journey of the heart, where time passes, but beauty remains.