Beijing Commune is pleased to announce the opening of "Huang Yuxing" on April 26th, 2012. Showing a series of his latest paintings, this is the artist's first solo exhibition at Beijing Commune. It will last until June 3rd, 2012.
Huang Yuxing's paintings are idiosyncratically based on premeditated different scenes. He applied multiple pure oil paints and acrylics upon canvases, rendering a colorful yet transparent picture. The scenes are fantastical, but simultaneously with quite a few elements of everyday structures or items in his paintings. These elements were dissected and rearranged by Huang to form a new pattern. Trap, Colosseum, Podium and Club of Law Enforcers...many details within these dramatic but concrete scenes explicitly explains the relations between the paintings and their titles, behind which lies a lucid narrative approach. Huang mainly took up the geometric forms, rendering multiple proportions which were painted mainly red, yellow and blue, so as to pose the style of this new series. The works are mainly based on bright yellow, and then partially covered with red, blue and other mixed colors. Huang intentionally leaves some rooms or outlines the subjects, so as to intensify the colors in the paintings. Ostensibly random brushworks make paints streaming down along the canvases.
Huang’s works end up with obvious characteristics of expressionism. By means of the method, Huang Yuxing represents individuals’ reflections, imaginations and mental fabrications about the surroundings and social milieu. The development of paintings is sluggish nowadays. Compared with other artists in the same generation, Huang Yuxing’s style reveals singularity, which seemingly detached from current social contexts. Yet, there are practically apparent relations with his educational background in the academy, exposing a “fallacious” aesthetic value and “paradoxical” comprehension, which are especially apparent in his latest undertaking. Strong visible impact intertwined with practically thin paints attached to the canvases, endowing the whole picture with an eerie aura. Despite the surrealism prevailing in his paintings, sarcasm about politics, even not explicit or pertinent, serves as the quintessence. Huang’s detachment mirrors a collective consciousness of bunch of people in the same generation. Renouncing conceptualism when star ting painting, Huang typically fulf ills his ar tistic practices along with modernism, imbuing the new surroundings with new significances and values.
