Ying Kit Chan: New Work 1994 |
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This body of new work by Ying Kit Chan focuses on the intensity, power and mass of urban and industrial sites. The work takes on a life and power of its own, addressing the issues of urban plight, industria growth and the expanse of modern technology. Depicting massive bridges, overpasses and fossil beds, Chan's work conveys an extreme sense of modern industrial stress, urban deterioration and, at the same time, a kind of spiritual hope. These images stand for all time - past, present and future. They are reminders of the Industrial Age, contemporary America, and an insignt to the future of urban environments and to ourselves. Revealed is the contrast and dichotomy of massive industrial sites and the sense of humanity and nature. The large scale of these drawings encourages the viewers to ponder their place in that environment and the relationship to the immense size and forms of the objects, By looking up at a large overpass set against an endless sky, the viewer is placed in a meditative and contemplative state of mind about the power of steel and scale and that connection to the natural and uroan environment.
Each work by Chan portrays a strong contrast of both forms and ideas. By working with an intense gestural energy, these geometric forms take on a sense of omnipotence and grandeur, in contrast to the natural geometry of the landscape, Lines of extreme energy and power cross the field of vision, creating an expanse of time and distance. The passionate marks of charcoal give way to an overwhelming sense of movement and depth. This movement and force can be translated to the industrial symbols used by Chan. The bridge, telephone pole and barge, all act as symbols of a contemporary industrial age, one with monstrous strength,
The entire visual field is composed of graceful arcs, sweeping curves and strong geometric lines. The balance of curvature, linearity and angularity create a definite sense of dynamic balance and exhibit a mastery of composition. In addition to the opposition of forms, the contrast of black and white creates an equally successful degree of balance and discord. The fusion of graceful placement of lines, utilization of positive and negative space and intensity of the stroke, all allude to a relation between harmony and disorder.
Stylistically, Chan's New Work is reminiscient of an Expressionist or Fauvist mark. Quick gestural slashes create abstracted geometric forms, yet clearly recognizable symbols of our time. His strokes reveals a highly individualized sense of expressionistic rhythm.
During the history of art, there has been a plethora of landscape painters. Even the American landscape painters of the nineteenth century, such as Albert Bierstadt and Thomas Cole, commented on tne state of the environment in the face of emerging industry Chan's New Work, however, addresses the issue of the urban environment through creating visual tensions found between architectural forms and those natural spaces that surround them By creating a strong depth of vision tnrough placement of angles, lines and intensity of Strokes, Chan contrihutes to the power and fortitude of these urban symbols
The entire body of work of Ying Kit Chan deals with dichotomy. There is not only tne visual relation between black and white, but also the juxtaposition of natural and technological environments, and that between order and chaos. Yet by the combination and relation of these disparate elements, there remains a sense of unity and cohesive quality.
Throughout time, symbols have been important devices for communication, recognition and worship. These symbols, relevant to culture, religion, science and art, carry the strength to unite and identify a culture or time. Perhaps the industrial symbols of today, which are so clearly recognizable, are able to act as forces of change. Ying Kit Chan presents the boundary of change between the industrial symbol and the spiritual or natural element, manifested through visual forms of interactive energies.
After three years of planning, Brownsboro Gallery is honored to present this exhibition of new work by international artist Ying Kit Chan. Chan has previously exhibited in solo and group shows in museums and galleries across the United States and abroad. Currently he is an Associate Professor of Fine Arts at the Allen R. Hite Art Institute, University of Louisville.
Rebekah Hines
Curator