Publications- Wang Yi Guang

Capturing the Moment

Western China, with its pre-historic, cultural landscape, is charged with the flow of ancient Chinese history. Since the beginning of time, man's desire for depicting life has been caught in the ancient mural paintings of the area. Throughout history, the articulation of the relationship between man and the environment; man and beast, has been a theme often adopted by artists from both different regions and different eras. They may be searching for a vocabulary that best describes their own experiences. Still, their efforts have one goal in common - to encapsulate the very essence of life.

The company I work for, China Railway Construction Corporation, has extensive projects across China reaching the remotest corners of the country. My work often gives me the opportunity to visit very secluded places in western China. I am able to do my research and gather inspiration from the local cultures of Tibet. With the landscape evolving so rapidly, the subjects in my works also undergo swift changes. At the same time, the illusion and association resulting from the difference in depth add enrichment to the romantic language of my paintings.

Objects in the real world trigger ideas in artists. Ideas are based on the imagination, and techniques can make ideas become reality. In works on the Shan Xi plateau, I try to capture snapshots of life in my paintings, constructing visual effects that are mystical, austere and magnificent. In "New Generation", a work of the 1990s, with complex characterisation, a young girl stands with her grandparents on the newly laid railway, appearing full of joy and expectation. The painting adopts a low-view perspective using weak colours of silver and grey to illustrate the bleak vastness of the Yellow Plateau in the northwestern region. The background features a glittering sky with small clouds, a hint of impending rainfall, which is such a precious phenomenon in the arid land of the Yellow Plateau. The questing look in the eyes of the granddaughter enhances the mystical quality of the painting and implies a sense of hope. In "The Way Back Home", I have tried to capture two movements that are highly exaggerated and symbolic. The attempt is to create a vibrant picture by the juxtaposition of simple and innocent characters against the backdrop of a herd of sheep running across the enormous plains of Western China.

People from diverse backgrounds provide artists with very different forms of creative inspiration. Through my frequent trips to the plateaus in Yunnan and Guizhou province, I have been able to create a series of paintings that are lighter in tone, a reflection of the more poetic and delicate local culture. In "Running River", I used large splashes of colour and fluid, linear forms to illustrate the joy and excitement felt by the Miao girls, as they welcome the arrival of the railway to their hometown.

To me, searching and selecting are vital when it comes to the study and examination of life. Painters should open their hearts and merge into life without any prejudice. The most dangerous thing a painter can do is to have a fixed image in mind before he has even left the house. If you go out in search of something particular, you will probably miss a golden opportunity for inspiration that could culminate in an outstanding piece of work. Painters should first seek a meaningful picture from life; this image should be a representation of the artist's imagination and sub conscious.

Due to differences in perception, an individual's observation of a certain object may lead to conflicting visual experiences. In order to successfully convey a message in a painting, one has to depict the different senses - touch, taste, sound and smell - by using images that are either relatively sharpened or blurred. To strike "gold" in a painting, one has to be able to effectively employ images to evoke the other four senses. As I venture deeper into life and my creative work, I have begun to develop a better understanding; when a painter becomes acquainted with the sensory properties that are contained in all objects, they will discover that the significance of the painting matches the very primal desires they feel for the object in their hearts. Upon discovering these new visual elements, I have gradually been able to express a deeper emotion for my subjects. In fieldwork, I try and imagine all the different possible perspectives of a certain object, in an attempt to link up the form and the dimension of space and colour. No matter what I see, I will observe it using the properties of oil painting, not just with my eyes, but I will scan the surroundings using this special "observing and reflecting" technique.

Since we began working on the Qinghai - Tibet railway in 2002, I have been able to visit the Tibetan plateau a number of times. I've been deeply touched by the breathtaking landscape of Tibet and the happy-go-lucky spirit of the Tibetan people. The Tibetan people's profound regard for the natural world and animals has also cast a life-long impression on me. Their unwavering optimism, all-encompassing and peaceful way of life, are in extreme contrast with the psychological states of modern city dwellers. In my works of life on the Tibetan Plateau, I focus more on movement, so as to convey the beauty of extreme tension and moments of life. When I was in Tibet, I spent a lot of my time lying down in the grass, as I suffered from acute mountain sickness. As I lay there gasping for air, a delightful picture revealed itself before me: a couple of young, spry Tibetan girls racing about the countryside with their herd of yaks. These Tibetan girls reminded me of 'Feitian', the flying Devi (literally: 'goddess')^*, when they are still earthly beings. The fairy tale relationship between man and yak, also called "ship of the plateau", came to life right before my eyes. In my series of paintings on the Tibetan plateau, I try to convey the unique psychological journey I experienced during this time. Similarly, these feelings surfaced through long periods of "observing and reflecting". This dream-like state has in turn added a romantic dimension to my works, which can be seen in paintings such as "Sun in a Distant Place" and "Towards the Sun". By applying surrealistic elements the transfer of images can be fully articulated.

In my oil paintings I try and convey my feelings for a target, as though I were encountering it for the first time. I do this by trying to capture its characteristics and intrinsic humour. I believe that painters should integrate their own impression of a certain experience, observation and/or response in their work so as to create expressive images.

I wish to take this opportunity to thank my parents and elder brother for their unconditional support and advice over the years.

I would like to thank my teachers and mentors Mr Jin Shang-yi, Mr Zhan Jian-jun, Mr Shu Qi-mei and Mr Lin Gang. Their guidance and pearls of wisdom will remain with me for life.

I would like to thank my wife Wang Mai, who has helped me overcome many challenges in both life and art.

I would like to express my gratitude to Mr. Qu Zhi Yi and Mr. Zhu Hai Yan for their constant support and dedication.

A special thanks to the late Mr. Manfred Schoeni for his enduring encouragement and care. I miss him deeply.

I would like to thank Ms. Nicole Schoeni and The Schoeni Gallery, including Ms Xu Jiang-hong for her assistance in publishing this catalogue. This exhibition has only been made possible with their support. Their enthusiasm and sincerity have been truly touching.

Finally, a big thank you to all the friends who have lent their support in producing this book. Long live our friendship, long live art.

Wang Yi Guang
September 16, 2004

^* 'Feitian' (or the flying Devi) is a mythological flying goddess. The goddess has many guises and is worshiped by thousands of names that often reflect local customs and legends. Feitian is mainly found in the murals in Dunhuang and in sculptural forms in cave grottoes across China, such as Maijishan and Yungang.