Huang Dan 黃丹
Wistful Reign 頂鬱, 2018
Ink and Colour on Paper 設色紙本
45 x 77 cm
Copyright The Artist
Huang Dan was born in Guanxi, China, in 1979 and graduated with a BA at at the Central Academy of Fine Arts. Since 2006, she has taken her contemplations of...
Huang Dan was born in Guanxi, China, in 1979 and graduated with a BA at at the Central Academy of Fine Arts. Since 2006, she has taken her contemplations of landscapes, animals and humans across Greater China, with a particular emphasis on Beijing, Shanghai and Nanjing, Korea, and Hong Kong.
Children, horses and acrobats are often the artist’s motif, carefully positioned in a natural world with expanses of dream-like azure water, sinewy trees and black skies. Huang Dan describes the horse in the language of classical Chinese painting. The horse is “stable as a mountain, and the horse's eyes are as clear water. Painting a horse is like painting an animal's "landscape." Children are often caught in an unguarded moment of serene inactivity. The viewer’s subconscious reflex is to project his or her own emotions onto the scene to fill the apparent emotional void.
The simplicity of Huang Dan’s works is manifested most clearly in her sparing use of colour, offering the viewer clean signature shades of a cold blue and hot orange, black and white. “The colours are becoming even more simple. Maybe in the end it will just be black and white. And then I may turn away from black and white and lead us into a world of chaos…” She describes the simplicity in the context of a half way stage between full, vibrant representation and the portrayal of nothingness. “A process from much, to half, to less… to none.”
Huang Dan pushes on her impressionist instinct of stripping away extraneity, further reducing colours and forms to focus on the essentials. Her newest paintings of the pine and pine needles affirm the continuation of her journey towards the core of our lives. Where impressionism softened the lines and blurred the contours of newly industrialized life, Huang Dan takes the philosophy a stage further, defining lines and angles of physicality, whilst leaving a tinge of emptiness in expressions, and removing background details entirely.
黃丹，1979年出生於中國廣西，在首都中央美術學院獲得學士學士碩士學位。自2006年年以來，黃丹的水墨作品走遍大中華地區，特別是北京，上海和南京，也包括東京，台北和香港。
孩童，馬和雜技演員是黃丹作品中重要和重複出現的標誌圖像，被精心安排在夢幻的天藍湖水，壯碩的樹木和灰色暗天空的自然世界中。黃丹說：「身軀穩健如山，雙目清澈如水。畫馬就像畫動物的「風景」」。兒童無意識地靠在一起，展示了一個恬靜的時刻。觀眾會潛意識地把自己的情緒投射到畫作中，填補那情感留白的空間。留白的表達是黃丹畫作中引人共鳴的特徵。
簡約是黃丹作品主要風格，她標誌性的藍、黑、橙，白等色彩給予觀眾清晰的印象。顏色會變得更加簡單。也許最後只剩下黑色和白色。然後我可能會離開黑白，帶領我們進入一個混沌的世界。這是一個從多、到一半、從少再到沒有的過程。」
黃丹繼續倚背著她的印象主義本能，剝離異端，繼續探索「少即是多」的哲學，進一步減少顏色和形式。她最新的松樹、松針和山地景觀等傳統中國主題作品肯定了她走向人生核心的旅程，描繪了她在自己的文化背景下運用莫奈的理念的能力。當她運用協調的能量、光芒和清晰度，而不是個別的細節，正體現了印象主義精神和意義對她的影響力。
Children, horses and acrobats are often the artist’s motif, carefully positioned in a natural world with expanses of dream-like azure water, sinewy trees and black skies. Huang Dan describes the horse in the language of classical Chinese painting. The horse is “stable as a mountain, and the horse's eyes are as clear water. Painting a horse is like painting an animal's "landscape." Children are often caught in an unguarded moment of serene inactivity. The viewer’s subconscious reflex is to project his or her own emotions onto the scene to fill the apparent emotional void.
The simplicity of Huang Dan’s works is manifested most clearly in her sparing use of colour, offering the viewer clean signature shades of a cold blue and hot orange, black and white. “The colours are becoming even more simple. Maybe in the end it will just be black and white. And then I may turn away from black and white and lead us into a world of chaos…” She describes the simplicity in the context of a half way stage between full, vibrant representation and the portrayal of nothingness. “A process from much, to half, to less… to none.”
Huang Dan pushes on her impressionist instinct of stripping away extraneity, further reducing colours and forms to focus on the essentials. Her newest paintings of the pine and pine needles affirm the continuation of her journey towards the core of our lives. Where impressionism softened the lines and blurred the contours of newly industrialized life, Huang Dan takes the philosophy a stage further, defining lines and angles of physicality, whilst leaving a tinge of emptiness in expressions, and removing background details entirely.
黃丹，1979年出生於中國廣西，在首都中央美術學院獲得學士學士碩士學位。自2006年年以來，黃丹的水墨作品走遍大中華地區，特別是北京，上海和南京，也包括東京，台北和香港。
孩童，馬和雜技演員是黃丹作品中重要和重複出現的標誌圖像，被精心安排在夢幻的天藍湖水，壯碩的樹木和灰色暗天空的自然世界中。黃丹說：「身軀穩健如山，雙目清澈如水。畫馬就像畫動物的「風景」」。兒童無意識地靠在一起，展示了一個恬靜的時刻。觀眾會潛意識地把自己的情緒投射到畫作中，填補那情感留白的空間。留白的表達是黃丹畫作中引人共鳴的特徵。
簡約是黃丹作品主要風格，她標誌性的藍、黑、橙，白等色彩給予觀眾清晰的印象。顏色會變得更加簡單。也許最後只剩下黑色和白色。然後我可能會離開黑白，帶領我們進入一個混沌的世界。這是一個從多、到一半、從少再到沒有的過程。」
黃丹繼續倚背著她的印象主義本能，剝離異端，繼續探索「少即是多」的哲學，進一步減少顏色和形式。她最新的松樹、松針和山地景觀等傳統中國主題作品肯定了她走向人生核心的旅程，描繪了她在自己的文化背景下運用莫奈的理念的能力。當她運用協調的能量、光芒和清晰度，而不是個別的細節，正體現了印象主義精神和意義對她的影響力。
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