“Dialogue: Art and Design” Exhibition
“Dialogue” represents the first cross over exhibition project co-presented by Calvin Hui, Artistic Director of 3812 Contemporary Art Projects and world renowned French designer Olivia Putman. As a programme of Le French May 2015, this stimulating “art and design” collaboration between 3812 Contemporary Art Projects (Hong Kong) and Studio Putman (Paris) reflects artistic values of the East and West. “Dialogue: Art and Design” Exhibition will be held at 3812 Art Space from 16th May to 30th June, 2015
“Dialogue” puts in to form the feelings we share but seldom express with words, it captures the subtle juxtaposition of contrasts; as Olivia Putman explains, “I will try in my design to include some forms and materials that remind us of the styles and techniques from the two continents. It is always interesting and amusing to observe people when they are discovering a furniture piece and hearing them saying it reminds me a Chinese lamp or the shape of this chair is so French”.
For Calvin Hui, this exhibition expands the dialogue shared between an aesthetic value for art and design; reflective of a cultural exchange between the “co-existence of spirituality of Chinese culture” and “the functionality of Western forms”.
“Dialogue” introduces a spatial aesthete of modern living. A collection of contemporary furniture by Olivia Putman and paintings by Chinese artists Xiaohua, Tian Wei and Wang Aijun will elegantly be accomplished with each other in 3812 Art Space. You are welcome to join the dialogue and appreciate the art of modern living.
Calvin Hui and Olivia Putman
Studio Putman /Chair – Velet Madame (left), Velet Monsieur (right), Mirror – Eclipse (middle)
Studio Putman /Console – Ondes
Olivia Putman is a French designer born in Paris. Satisfying a long-time wish of her mother, Andrée Putman, Olivia became the Art Director of the company in 2007. Her works range from interior architecture to scenography and design. After graduating from high school, Olivia completed a bachelor’s degree in History of Art at the Sorbonne University in 1987 in Paris. She then divided her time and workspace between Paris and New York where to present some artist’s exhibitions. In 1995, she started studying landscape management. Amongst other things, she worked with a landscape architect Louis Benech on the designs of the Tuileries Gardens and Elysée Palace in Paris. She also started to collaborate with Studio Putman. She was the art director for Lalique between 2010 and 2012; designed the Public Works headquarters in Paris and five stars hotel Sofitel Arc de Triomphe; also collaborated with Nespresso, Emeco, Christofle, Ralph Pucci and presented a special edition of perfume for Nina Ricci called “l’Air du Temps”.
Information on participating artists
Xiaohua / From 1 to 1000 meters – No.20
Xiaohua – Embracing weakness with a sensibility found only in Chinese female artists. “Weakness is strength, strength is nothing!” declared Xiaohua, who breathes new life to abstract painting with such dialectical reversals. She cuts fabrics into thousands of pieces of squares of different sizes and colours, and runs them under the heat of the iron, resulting in mutated shapes and hues with faint traces of the ironing. The dye now appears to be “washed down” as the hue is transformed into a colder tone which, paradoxically, finds a new harmony and subtlety that grace even a colour as garish as red.
Tian Wei / Ting Wu
A graduate of Chinese Painting at the Department of Fine Arts in Capital Normal University, Tian Wei subsequently perfected his craft under the tutelage of Mr. Jia Youfu (CAFA) and Mr. Du Dakai (Academy of Arts & Design, Tsinghua). Tian makes great use of ink spread by a liberal use of water in his ink mixture, layering shades upon shades of different saturation flowing out like a shimmering white light from the center of the paper, now completely soaked in water and ink, leaving the impression of airy ink strokes streaming with an inner dynamic. This empty center, etched out by the surrounding ink colours instead of painted directly, is imbued with an unseen light brimming out of a thick black wall.
The “forced” emptiness is inspired by the aesthetics of blankness in Chinese ink painting, whereby a white space is not simply left out, untouched and at rest, a positive space left empty on the plane of the paper, but is in fact enlivened by the contrasting surrounding space which makes the emptiness come to life, endowed with a vague glimmer, a white light restlessly vibrating at the infancy of a universe which seems to be at the point of coming to being. Sometimes, Tian adds to this vague haze a little colour such as emerald green or ocher red, brewing an organic potentiality which evokes a primordial world.
Wang Aijun / Beyond Heaven NO.26
Upon graduating from the Department of Oil Painting in Tianjin Academy of Fine Arts, Wang Aijun nabbed a teaching post at the Academy in 2004. Apart from his teaching duties, he also serves as the vice director of its New Media Art School. Wang Aijun is inspired by the Buddhist wall paintings of flying goddesses, whose movements are orchestrated to cosmic motion. It is a surreal world where big boulders appear out of nowhere. Instead of focusing on the elements, Wang’s drawings blend in watercolours and minerals of different colours to show the texture of rocks in a gentle way that neutralizes its materiality. Wang Aijun’s “shape-dissolving” technique is completed by yet another “colour-dissolving” technique based on the multiple dyeing in traditional gongbi drawing, now without the technique of solid outlining and colouring, representing a new way to blend colours.