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Nan Qi: Solo Exhibition

When:

Tue Nov 19 2013, 11:00am–7:00pm
Wed Nov 20 2013, 11:00am–7:00pm
Thu Nov 21 2013, 11:00am–7:00pm
Fri Nov 22 2013, 11:00am–7:00pm
Sat Nov 23 2013, 11:00am–7:00pm

Where: Art Plural Gallery, 38 Armenien Street, Bras Basah, Singapore

Restrictions: All ages

Ticket Information:

  • Admission: Free

Listed by: ArtPluralGallery

Art Plural Gallery is pleased to present the solo exhibition of Chinese artist Nan Qi in collaboration with China Art Foundation. Featuring 30 of his most recent works, the exhibition will run from October 31 to November 23, 2013.

Born in China in 1960, Nan Qi was trained in traditional Chinese painting. The artist graduated in 1986 from the People’s Liberation Army Fine Arts Academy (Beijing). After travelling to England and France in the 1990s to study European art, he moved to Hong Kong before returning to China where he currently lives.

Working with ink on Xuan paper alternating black and white, Nan Qi’s work is deeply rooted in the technique of traditional ink painting. From this strong personal attachment to ink, the artist keeps incorporating new elements to his work and injecting an innovative dimension to the traditional medium. These various components are all part of his unique artistic language and stand out in his
latest works.

Nan Qi, recognised as “the master of ink dots”, replaces lines with juxtapositions of dots forming an actual image when seen from a distance. This pointillist style renews the Chinese traditional freehand technique (xieyi), literally “writing an idea”: calligraphy characters are turned into dots. Each dot is thus a sign locking up its own meaning. The actual form of what is being perceived is conveyed by an
infinity of independent dots. As a result, it is not enough to observe the overall image, one literally needs to “read” the image to understand it.

The second innovative aesthetical component in Nan Qi’s work lies in his recent use of the 3D technique. The artist critically refers to the digitalisation of the world, forcing society to make it a norm and to adapt to this new paradigm. Indeed, in his art, the 3D is imposed to the viewer as no glasses are needed to see clearly the special effect. The artist rejects this material way of looking at the world through the prism of technology. The series, entitled Eerie 3D, deconstructs existing images in a fragmented and harsh reality facing digitalisation, consumerism and financial power. Using 3D, Nan Qi allows symbols to come out of his artworks and puts the contemporary world in suspension.