Yan Gallery to Exhibit Sculptures by Ren Zhe at Fine Art Asia 2015

Yan Gallery will be exhibiting two large sculpture works by famous Chinese sculptor Ren Zhe at Fine Art Asia 2015. The sculptures titled “Infinite Spirit of Allegiance” and “Uprightness and Vitality” will be located at the centre of the exhibition hall 3BC, welcoming the visitors to the event. In the meantime, Yan Gallery will also present a series of oil paintings by renowned Taiwanese artists Pang Jiun, Chi Hong and Yolanda Pong, at booth H3 and H5.

 

ARTIST BIOGRAPHY

Ren Zhe
Lives and works in Beijing, PRC
Graduate of the Academy of Fine Arts Sculpture, Tsinghua University
Member of the China Sculpture Institute
Techniques: Bronze, Stainless Steel sculptures indoor and outdoor, Bronze Reliefs

 

Exhibitions (Selection)

2011 Roadshow in Taipei, Hong Kong, Singapore, Shanghai, Beijing
2008 Beijing Olympics
2007 Contemporary Art Exhibition, NYC, USA

 

Awards

2009 Excellence Award of The Eighth China National Art Exhibition
2008 The Third Prize of The Ninth China Sculpture Art Festival
2008 Excellence Award of 2008 Beijing Olympic Landscape Sculpture Competition
2007 Nomination Award of Beijing Creative·Design Annual Youth
2006 Gold medal of China Zhengzhou International City Sculpture Year—The First International Sculpture Exhibition
2005 The third prize of China Taizhou City Sculpture Design Competition
The third prize of “Hirayama Ikuo”, Japan

 

Collections (Selection)

National Art Museum of China;
He Jing Yuan Art Centre
LDX Contemporary Art Center
Ming Tombs International Art Museum
Beijing 2008 Olympic Game Organizing Committee
Korea Art Bank
Daimler Northeast Asia Ltd.
China International Capital Corporation Limited (CICC)
Headquarters, Industrial Bank of Taiwan
Shanghai Culture Assets and Equity Exchange
Tsinghua University Academy of Fine Arts
Peking University

創作想法

任哲是新世紀成長起來的雕塑新鋭。他的雕塑作品具有史詩的崇高美感,而這種美感又非古典或寫實主義的宏大敘事風格,突出的特點從古代 任哲是新世紀成長起來的雕塑新鋭。他的雕塑作品具有史詩的崇高美感,而這種美感又非古典或寫實主義的宏大敘事風格,突出的特點從古代思想文化資源中汲取價值,對於各種現代流派和時代風尚瞭然於心,但並不盲目從之,追隨之,而是從更深的人文蘊涵中,從那些能夠豐富完善自身靈性的內在能量中,傾力挖掘。其精到的作品沉穩地顯露出自己的藝術個性,從而使藝術創造顯現出神采,氣度和風韻。從歷史的語境和古代聖賢,仁人志士風範中發現詩性的真理。臧否今人靈魂的匱缺,神往比現實生存更廣闊,更遠大的精神境界。我們稱之為“史藴詩心”。手法上採取“揮灑”、“涂抹”、“潑濺”,強調縱橫捭闔的抽象性氣勢。

“青影寒”的由來:未出土時 先有節,至凌雲處仍虛心。靜默夏夜,清風送爽,仰望窗外陣陣翠影,感懷現今社會人心不古;俗世清流,翩翩君子,卻是高處不勝寒,故名清影寒。看似冰冷的銀白鋼材,卻凝煉着堅忍不拔的意志;君子謙謙,溫和有禮,有才而不驕,得志而不傲,渾身散發一種不卑不亢的氣節。而這種磊落風範與凜然正氣也正正體現出竹子的精神內涵。子曰:“工欲善其事,必先利其器。”人物手裡的竹直立似劍,象徵著堅強剛毅、威武不屈的高貴品格; 在精神品格的降低、低迷與消解的當代,我們希望能藉着美好的東西,引起人們對竹的無限遐想,從而喚醒心底的善與美,弘揚君子當擁有的崇高人格和道德信仰。清影之下一抹寒, 放下包袱靜觀自在,您會發現此中真義和情感表達甚於言語。

“望龍庭”這件作品運用一個極為經典又富含深刻內涵的動態來進行表達。材質的特性被他充分利用在傳統的太湖石與灰瓦紅牆前一個武士脫穎而出。雖然有強烈的動勢,並不霸悍相反。任哲領悟了動與靜的互補,互生關係,注重動中之靜,在引導和集中澎湃洶湧的動感時,尋求一種戛然而止的凝固之態,在動靜的張力關係中,在傳統風範中,內在的深髓萃取並顯征出來。在當下,眾神喧嘩,浮造盛行而道德力量,“崇高”被人遺忘殆盡的氛圍中,任哲的作品自然
而然的具有了歷史感,成為了自己的風格符號而旗幟鮮明地區別於其它作品。