In the historical context, the term ‘left’ has always represented a radical, variable, unpredictable, and mobile state, which resembles the deep and vast ‘ocean’. Meanwhile, the opposite side represents a constant and coherent state, which is constructed by the subjectivity of human beings. At the cliff of the border where the two infuse into each other, I experience the state of extremity, a state where inspirations surge up.
--- Liu Ke

Whitestone Gallery H Queen’s is honored to present ‘Ocean by My Left’, the first solo exhibition of Chinese artist Liu Ke in Whitestone’s gallery space in Hong Kong. This exhibition presents the artist’s symbolic line paintings, and a series of works that originates from the concept of ‘conflict’, presenting a spatial experience that exceeds abstractionism, coalescing concepts of philosophy, history and narrative quality.

Liu Ke solo exhibition installation image

‘Rationality’ and ‘interrelationship’ have been the fundamental components of Liu Ke’s artwork. In the limited space of the canvas, the artist observes the relationship between the dense vertical lines and the wide brushstrokes. The careful permutation of the elements creates tension between the entities as they press against each other in the picture, congregating a concentrated force in the narrow space between objects. Despite the rational substructure of the painting, the vortex-like brushstrokes and abstract symbols sometimes intrude into the pictures, breaking the rigidity of the compositions. For the artist, this is an act of confronting rationality.

Liu Ke solo exhibition installation image

In relation to the exhibition title, ‘Ocean by My Left’, a painting series characterized by the blue and black dichotomy is presented. Blue symbolizes translucency on the grounds of the latitude of the color in temperature and brightness, fluidity, unknown and freedom; Black symbolizes solidity and a structural construction. The two independent hues started to infuse into each other when placed together in Liu Ke’s painting. The artist consistently examines the potential of the two-dimensional realm in the painting. Using the uttermost elemental expression, he often reflects on the history of Western Art, which seems to be the extension of the artist’s identity as a scholar. For instance, ‘The Woman Coming Down the Stairs’ series takes inspiration from Marcel Duchamp's “Nude Descending a Staircase, No.2” (1912). The artist studies the sense of rhythm and the dynamic overlapping colors in the original work while adapting a different two-dimensional interpretation of the moving image. In addition, Liu Ke started to incorporate casements in his paintings in recent years. He believes the device creates a dual ‘passage’ between the viewers and the two-dimensional painting, allowing the viewers to voyage through a 'vortex' that entangles the conflicts and everyday emotional fragment. While investigating the dichotomy and the contextual relationship between the material sense and spiritual sense of the entities in the painting, he created his very own language of abstract expressionism.

Liu Ke solo exhibition installation image

Liu Ke solo exhibition installation image

Liu Ke solo exhibition installation image

Liu Ke solo exhibition installation image

HONG KONG / H Queen’s

7-8/F, H Queen’s, 80 Queen’s Road Central, Hong Kong
전화: +852 2523 8001
팩스: +852 2523 8005
영업시간: 11:00 - 19:00
휴무: 일요일, 월요일
More Info

Opening reception

5 – 8pm, 11 January Wednesday

ARTIST

리우 커
리우 커

1976년 후난성 닝샹에서 태어난 리우 커는 2003년 광저우 미술학원 유화과를 졸업했다. 그는 현재 광저우 미술 학원의 교수이자 회화예술 학원의 부학장과 유화과 수석을 맡고 있다. 또한, OCT Boxes Art Museum의 Executive Director, 광저우 Sabaki Space의 설립자이기도 하다.

 

리우 커는 수직선을 사용하여 반복되는 오버레이를 통해 수직선이 서로를 누르는 관계로 제한된 작품을 만들고, 보는 이로 하여금 물체와 공간 사이에 숨어 있는 잠재적인 긴장 관계를 의식하게 한다. 제작에 있어서는 우선 화면을 세로 선으로 잘게 분할하고, 다음에 틈이 적어질 때까지 겹쳐 놓는다. 선과 선 사이의 틈으로 힘이 집중되고, 가로세로 블록이 서로 부딪힘으로써 에너지가 표출화된다. 그의 추상적 기호와 독창적 색채는 예술의 '소용돌이' 속을 여행하는 것처럼 신비로운 감각을 준다. 경계면의 변형, 물질과 정신의 대립에서 나오는 '점'을 통해 시작의 선과 겹쳐진 틈에서 2차원·3차원 세계로 이어지는 길을 형성하고, 동시에 삶에서 생겨나는 감정의 단편을 그림 속에 엮고 있다.

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