From 1960, Hsiung not only employed buffalo, camel, and standing horse as the subjects of his works, but also resumed the techniques of “carving” and “shaping” to create sculptures with large surface and mass. He repeatedly deliberated on the modeling of these works in a way like creating a classic. These works are realistically representational with the weight compressed in the mass. They simultaneously convey two distinct senses of sculpture respectively featuring in occidental classical sculpture and Chinese artistic tradition. The former is imposing, plump, and expanded, while the latter is easy-mannered, resolute, and magnificent. In sum, these works exhibit a perfect fusion of the quintessence of two different sculptural systems in the austere subjects.
｜Fan Di-An(范迪安), Art Critic
⌋
Hsiung Ping-Ming, a Chinese artist living in France, is one of the most important intellectuals in contemporary China. With a profound knowledge of both Chinese and Western cultures, he is a writer, poet, calligrapher, philosopher, painter, and sculptor. His insights and profound understanding of contemporary Chinese and Western cultural studies have opened a modern path from philosophy to art, from the West to China. He is a distinguished contributor to the academic field of contemporary art.
