Affective-Imagoism: Artworks by Sang Huoyao
Asia Art Center is honored to announce that “Affective-Imagoism: Artworks by Sang Huoyao” will be held on December 26, 2020, with an opening ceremony at 3 pm on January 16, 2021. After “Affective-Imagoism: Sang Huoyao’s Works Exhibition” (Long Museum, Shanghai, China, 2019), “Sang Huoyao Solo Exhibition – Horizons of the Mind” (Museum of Contemporary Arts, Singapore, 2018), “Chaos – Exhibition of Sang Huoyao’s works” (National Art Museum of China, Beijing, China, 2017), the new exhibition features his deepened cognitive expression regarding the concept of “Affective-Imagoism”, with more than 50 new artworks in recent years. In addition to paintings, there are also art installations, which more abundantly present the artist’s new creations and thoughts, and further construct the mystery, sublime, purity and depth of “Affective-Imagoism” aesthetics.
Since 1998, Sang Huoyao has initiated his exploration of the internationalization of ink art, adhering to the contemporary nature of Chinese ink paintings. Based on practices of self-creation, he combines Eastern philosophy, aesthetics and unique perceptions regarding the present, pursues metaphysical spirituality, and eventually forms a stacking methodology of “Affective-Imagoism”, including the artistic concept, language and symbols. In terms of form, he deliberately abandons the lines of calligraphy. From the perspective of brush and ink technique, his artworks seem abstract, hazy and chaotic, meanwhile in the space of composition, Sang Huoyao continues to present the philosophical artistic conception of Eastern painting, which is the emptiness and tranquility put forward by Chuangzi. In the process of artistic innovations, Sang Huoyao gradually establishes his unique square aesthetics of “Affective-Imagoism”, inspirated by the philosophical foundation of I Ching characters, Chinese characters, and the theory of “round sky and square earth”.
In the new stage, especially in the past three years, Sang Huoyao tries to add rational symbols to Chaos works. For instance in 2020, Sang Huoyao created large-scale works “This Year” and“Diary” which contained English characters and symbols, responding the present situation. In the two small works, phenomena such as infinity (∞) and inverted question marks (?) appear on the floating “square” in the painting, revealing the artist’s various thoughts on nature and society as an individual. Sang Huoyao is not only exploring Chinese aesthetics and Western semiotic theories, but also using art to intervene in society and life.
Sang Huoyao has formed the theory of “Sang’s Cube” , extracting semiotic images from real life, and transforming it into a symbolic language based on contemporary Chinese ink painting. In this process, Sang Huoyao’s personal performance guidelines and standardized artistic “language” construct his symbolism system of ink paintings. The dim “light” through the superimposed squares in the work demonstrates the vivid transmission of rhyme in his ink paintings and the metaphysical perception of “great music has the faintest notes, the great form is without shape” in Chinese aesthetics. Sang Huoyao actively explores the boundaries of ink paintings in recent years, strengthens the use of color, and increases the expressive power of Chinese art in contemporary art. He uses monochromatic color blocks as the artistic matrix, and abstracts the language of ink as the internal structure rooted in the traditional Chinese “Affective-Imagoism”. Thus, Sang Huoyao intends to build a bridge of dialogue between rational Western abstract art and Eastern philosophy.