Created between the early 1950s and the mid-1950s, these figure sculptures are quite precise and exquisite in terms of proportion, structure, and movement as realistic sculptures are expected to show. Nonetheless, the aesthetic principle of “better to keep simple and austere” finds expression in these works as well. They are perfectly plump, and their inner vitality determines the details of their movement. Their square mass serves as a foil to their smooth and undulating curves. The rhythmic imprints left during the creative process bring out the trilling radiance of their skin.
｜Fan Di-An(范迪安), Art Critic
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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.
