Opening Reception
Thursday, 21 April 2016, 6 to 8pm
Exhibition Period
21 April – 4 June 2016
Hanart TZ Gallery
401 Pedder Building, 12 Pedder Street, Central, Hong Kong
A Singular Life: Yeh Shih-Chiang
Hanart TZ Gallery is honoured this April to present “A Singular Life: Yeh Shih-Chiang” the first solo exhibition at the gallery of works by the Taiwanese master painter and calligrapher, Yeh Shih-Chiang.
Yeh Shih-Chiang settled in Taiwan in 1949 after first visiting the island as an art student from Guangzhou. This was a time when many Taiwanese artists were coming into contact with Western Post-War modernism, which inspired them to embark on an intensive period of experimentation, seeking for a new language of Chinese ‘modernism’ with ink painting as its basis. Yeh Shih-Chiang was not interested in becoming simply a follower of new Western trends, and at the same time he also was averse to being trapped within the confines of the national “guohua” painting style. In a sense one could say he was avoiding the ideological impasse represented by the two sides of the Cold War.
Ultimately he found his solution in a return to the pure and eternal realm of art, taking elements he found compelling from both modern and traditional languages as he developed his own painting practice. His strong, iconoclastic personality and his solitary nature fuelled his ability to break the rules and create his own artistic path.While he refused submitting to constraints of the academy system, he also rejected the art market and the bureaucracy of exhibitions. The intense singularity of Yeh Shih-Chiang’s art has won devoted followings among connoisseurs in the inner circles of the art world.
His artistic practices highlight unresolved problems in China’s modern art historical discourse, in particular issues dealing with national culture and the modern nation-state, and the role of the artist under siege of ideologies (from either the left or the right). Yeh took China’s modern experiment into new trajectories, and one might go so far as to claim that his artistic position, developed over his years in China and Taiwan, challenges the mainstream art historical narrative based on modern nation-state discourse, particularly that of the post-War era, opening up a fruitful new ground for research.

House, Withered Tree, Grey Geese
2007
Oil on Canvas
64 x 128 cm
Reeds by the Water
2008
Ink on paper
138 x 351 cm
Grey Geese among the Reeds
2007
Oil on canvas
109 x 333 cm
Pagoda
1996
Ink on paper
137 x 299 cm
Image Courtesy of Hanart TZ Gallery
Green Forest and White Heron
2004
Oil on canvas
216 x 156 cm