On 4th October 2012 my artwork series “Propaganda” was inaugurated at the VIP preview of Taiwan Photo, staged in Taipei, Taiwan. Photographs of the inauguration can be seen via this link and additional photographs of the Taiwan Photo Art Fair can be viewed via this link, both of which are albums shown on my official Facebook page. The series consists of 12 artworks, each depicting a nude figure (6 female and 6 male), upon which propaganda posters of the period in question have been super-imposed. Each figure is depicted against a representational back-ground of photographic/graphic origin. Each artwork is available as an edition of 4. Measuring approximately 100cm on the longest edge (depending upon the artwork in question). Specific details are shown on the image above.
The series is a unique way of presenting the influential imagery and messages used by the government to influence the thinking and mind-set of the population of the People’s Republic of China during the respective periods. A full explanation of the series in the form of PDF documents, can be found via these links: Propaganda (English) and Propaganda (Chinese).
Subsequent to Taiwan Photo, the artworks will exhibit be the subject of gallery exhibitions in Taiwan, and subsequently at public Museums in both Taiwan and Mainland China. The series will also be exhibited at selective gallery venues in Singapore and Hong Kong.
The full series can be viewed in high-resolution HERE.
My long awaited artwork series “Propaganda” will inaugurate on the 4th October 2012 at the VIP preview of Taiwan Photo. Taiwan Photo is the country’s only international photographic art fair, and opens to the public the 5th October 2012 through to the evening of 10th October. The fair is only in its second year of existence, but has received significant patronage with major international galleries notably from Japan and Europe, participating along-side local Taiwan and Mainland Chinese exhibitors.
Propaganda is one of two featured solo exhibitions, organised by representing gallery 1839 Contemporary Gallery. Propaganda will subsequently feature as a solo exhibition in 1839 CG, and is also scheduled for public exhibition in major museum venues in both Taiwan and Mainland China.
Detailed information on the artwork series and the history of Chinese propaganda posters in general, can be read HERE (in English) or HERE (in Chinese)
In the photos above, my artwork “Nishikigoi” can be seen hanging in the entrance lobby of Nan Gallery, Taipei. The first Western artist to exhibit at the gallery, which was one of the first in Taiwan, founded 30 years ago. The work is currently with Der-Horng Gallery (http://www.derhorng.com/en/index.php), my representing gallery in Tainan.
The word koi comes from Japanese, simply meaning “carp”. It includes both the dull grey fish and the brightly colored varieties. What are known as koi in English are referred to more specifically as nishikigoi in Japan (literally meaning “brocaded carp”). In Japanese, koi is a homophone for another word that means “affection” or “love”; koi are, therefore, symbols of love and friendship in Japan. An example of this can be seen in the short story by Muk?da Kuniko, “Koi-san”. The koi is also an often recurring symbol in Irezumi, the Japanese art of traditional tattooing.
The work in question is a photographic pigment print on hand-made cotton based fine-art paper. It comes from a series of four artworks, which are the first of new works produced under my Chinese name, with a specific focus on East Asia. It bears my official chop (seal) on the front lower right side and is signed, numbered and dated verso. Framed in wood behind plexiglas, and bordered in Chinese gold brocade, woven from 24 carat pure gold. The work is a limited edition of 3 (+1 a.p.), and measures 180cm x 125cm (framed size). The full series of four artworks can be viewed on my official website via this link.
The artwork series “Propaganda” undertaken in joint collaboration with Canadian graphic artist Anthony Yang, has taken its next stage forward, with the completion of the second in the series of 12 artworks. The series is scheduled for completion by year-end 2011, and will exhibit in 2012, with an anticipated public showing in both China and Taiwan, before exhibiting internationally.
The complete series consists of six female and six male nude figures, each with propaganda posters from a specific period in Chinese history, graphically overlaid onto the model’s bodies. Each figure is set against its own individual background. The nude is representational of a blank sheet of paper, an open-mind, filled by the writings and influences of the propaganda of the period in question.