藝術團體/機構

吾在山之谷—徐沛之展覽

藝術團體/機構

團體/機構類型 (Organization Type:
地址 (Address)
1-2/F 31C-D Wyndham Street, Central, Hong Kong
Hong Kong S.A.R., China
電話 (Tel):
+852-21212270
傳真 (Fax):
+852-21212269
電郵 (Email):
組織/機構簡介-中文 (Profile in Chinese):

Grotto Fine Art was founded in 2001 to help shape, nurture, and promote the careers of emerging Hong Kong artists.  Today, our mission remains constant.  While many of our artists have benefited from extensive international exposure and have been included in prestigious museum shows and collections, we continue to make room in our schedule every season for artists new to the marketplace.  We were and remain the only gallery dedicated exclusively to contemporary Hong Kong art.

Grotto Fine Art holds six to eight one-person exhibitions per year in addition to local and overseas art fairs.  In 2009, Grotto Projects was launched to provide additional space to the existing gallery as well as providing prime venue for curatorial projects by invitation. Academically, Grotto actively engages in curatorial projects with touring exhibitions in an effort to foster the understanding of Hong Kong art.  As a consultant, we work with corporate and private collections and has placed works in institutions around the world such as the Asian Art Museum in San Francisco, Ashmolean Museum of Art at Oxford, Queensland Art Gallery in Brisbane, Hong Kong Museum of Art and the Hong Kong Heritage Museum.  Grotto’s director and chief curator, Henry Au-yeung, is a specialist in 20th Century Chinese art.  Henry writes, curates and lectures regularly on the field.

英文名稱: 
My Tiresome at the Bottom of Valley by Chui Pui Chee
活動類型 (Event type): 
藝術類型 (Art Form): 
Details: 

2015年10月15日 - 2015年11月7日
開放時間: 11:00 - 19:00 (星期一至六)

One of the most important principles in Chinese calligraphy is Xuanzhen shuilu “Suspending Needle, Dripping Dew”. It was originally used to define two of the early zhuan shu , seals script, styles -- xuanzhen zhuan and shuilu zhuan . The literati used it metaphorically to describe the psychological impact of a scholarly production while emphasizing a set of specifics concerning beauty, ideals and taste. Hong Kong artist Chui Pui-chee's career represents an active pursuit of this important aesthetic. Since his undergraduate days at the Chinese University of Hong Kong, I already understood that Chui married technical gifts with  classical knowledge and modern-day sentiment  to  elevate the art of calligraphy.

Since his last solo exhibition two years ago, Chui has raised his artistic expression to an even higher level, playing with an unshakeable confidence that allows him to envision possibilities and interrogate limits that other calligrapher  don't even think to explore. Already a master craftsman possessing  the calligrapher's most gifted and varied toolbox, Chui has added an especially refreshing dimension in applying a thematic cohesion across different forms of expressions – canto-pop lyrics, seal carving and gongbi painting. By not letting the orthodox conventions limit his exploration, Chui has shown the awareness to bridge the past with present while reaffirming his unique Hong Kong identity.

Among all calligraphy scripts, Chui's xing shu demonstrates unparallel control yet expressive qualities. As he initiates his brush movement, each stroke begins with a deep impact that exerts the subtle power of zhuan shu and ends with a swift withdrawal that creates a slender finish, a light touch that provokes spontaneity. The mood of Chui's works is mellow and they impart a measured ease and grace, thereby betraying a tranquil disposition. The character's unassertive and graceful appearance is balanced by a strong and solid inner structure. At times bold and unfettered, the calligrapher draws from all orthodox styles but amplifies them, thus allowing personal idiosyncrasies to become accentuated. Such combination of outer and inner quality and formality and individualism brings to mind an important element in all good calligraphy: zishi?? , the intrinsic momentum or tendency.

Calligraphy, the art of writing, is fundamental to all pictorial art forms in China. It presumes the individual's trueness and reflects his virtues, cultivation and knowledge. Chui Pui-chee's calligraphy is a well-balanced admixture of native substance and acquired refinement. As an established artist competent in painting and seal-carving, Chui travels the extraordinary path of contemporary calligraphy. While the ancient literati would pursu e this difficult art form in seclusion , Chui is an articulate young scholar rooted in city lifestyle and popular culture. I think they make him and his work all the more approachable and lovely.

Henry Au-yeungSeptember, 20 15

 

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