Beijing Commune is glad to announce the opening of Liang Yuanwei’s solo exhibition “Golden Notes” on November 13, 2010. Born in 1977, Liang Yuanwei has already received extensive attention with works full of her own feature among the emerging younger generation of the artists. “Golden Notes” is her first solo exhibition at Beijing Commune. Derived from the title of the novel by Doris Lessing, “Golden Notes” reveals that the artist attempts to reflect as a woman her growth and her relationship with the world through the seemingly disordered notes she made every day. The viewers will find at the first sight that the works on show this time are still about the flower patterns she’s been working on since years ago. The intricate strokes and the apparently large amount of effort in the paintings continue to grab the viewers with their visual power. However, when they notice the way these paintings are installed in the gallery space and the relations between them , they will realize that the artist is carrying on a further research in her work consciously. In fact, for Liang Yuanwei, painting is more about transforming all her reflections about life and world into the practice itself, furthering and presenting her thoughts within the media in the actual process of painting.
The exhibition consists of two sets of diptych paintings and a series of studies she made for them. In the diptych paintings which serve as reference and contrast to each other, the viewers can see Liang’s experiment about the subtle transition of reflected light on a richly textured surface, while on the small studies they can have a more sensitive feeling about the details of the flowers. The diptych paintings are the largest ever by Liang Yuanwei, which enable the artist to carry out her study about light to the full, and at the same time, the very refined and delicate details of the patterns serve as subtle clues to the understanding of the whole. To arrive at this, it requires the passion in the huge amount of labor in the painting and the ability to control this passion rationally with techniques. The fragments of the patterns and the change of color are all imagination of the artist which has been carefully realized with reason. Perhaps a sentence taken from Doris Lessing’s describing the way Anna looking at her notebook can be applied to Liang’s painting process as well---she painted “as if she were a general on the top of a mountain, watching her armies deploy in the valley below."
Liang Yuanwei’s efforts in the creation of the form in her paintings have, undoubtedly, brought a visual enjoyment to the viewers. This is how her works have been accepted both positively and negatively at once. The latter is more concerned with Liang Yuanwei’s meticulous depicting of the beautiful patterns in an aesthetic way. For Liang Yuanwei, the connotation of these patterns extensively used in our daily life and perhaps, that of the action of “painting the pattern” have never posed a threat to her work. Her paintings are not interpretations of certain perception, but are the perception itself. With the persistent furthering of her work, Liang Yuanwei is trying to vacate all the peripheral qualities attached to these symbols and bring them to their original state, and only in this state, her huge effort spent on the careful depiction of the patterns can lead the artist gradually to what really matters. In a recent review, Liang Yuanwei said that the artist’s sensibility and talent about form are never their defect and for a real artist, form is always created with purpose. Her works have demonstrated to us that beauty is never an obstacle for reaching truth, no matter it delights us or makes us feel that we should be opposing this delight.