![LEARNING OBJECTIVES
Yang Hongwei
Noted Chinese author and critic Li Tuo wrote, in an article titled “New Technique
and New Concept – Yang Hongwei’s Wood Engraving”, “I believe that the wood
engraving of Yang Hongwei is worth our careful consideration.” What compelled
him to make this statement?
Early examples of Yang’s innovation can be seen in the masterful execution of
colour wood engraving in the works created for his master’s degree, such as Solar
Eclipse (2007 to 2008). In 2009, with large scale works such as Tian Yi Sheng
Shui (Heaven Giving Birth to Water), Yang played with the general perception that
printed paper is the final product of a woodcut, offering instead the actual cut
wood block as a finished piece. In 2012, he explored sculpture in his “Shang”
series, where he carved on traditionally styled Chinese chairs. In his latest solo
exhibitions (three held in three different Chinese cities in 2012), he ventures into
installation work.
How was your childhood?
My childhood was hard, very hard. When I was a young child of around eight
years old my mother passed away. From then on, I did not have a stable home
environment. A mother is most important in the life of a child, so her passing
had a great impact on my inner life, but it did not crush me, it did not affect my
character in a negative way. I felt like a wanderer, but stayed optimistic.
On the other hand, if my mother had not passed away I would not have chosen
to study art. When I was young, I was a good student because my mother was
very strict with school work. After her passing there was no one to push me on
or help me with my school work. If my grades had been better I might have
chosen another profession, such as literature, science or engineering. So
because I was not doing well academically, my interest turned toward painting
instead.
We lived in difficult economic conditions and there was no one to give us toys,
therefore I would make my own toys and so became sensitive to [making things
with my hands]. The most dramatic change after the passing of my mother was
that I had to help around the house, including looking after my younger brother.
I was too young to earn money, but I had to do my share in the running of the
household. This was very important because it slowly taught me the ability to
think independently. As there was no one at home to help me, I was forced from
a young age to think for myself and come up with solutions for different
problems.
Who or what had the biggest impact on your life?
The most important person would be my mother.
The second person would be a classmate of my father, who was a middle school
teacher. He did not influence me directly, but it was through him that I got to
know someone else with whom I started painting. [This person] is still a good
friend and still lives in Tianjin. He was my first sketching partner.
Another person who greatly influenced me was an elderly man who has since
passed away. He was around seventy years old and the first person to teach me
traditional Chinese painting. When I was around nine or ten years old he started
teaching me. For seven years I did traditional Chinese painting.](https://image.slidesharecdn.com/y12-151108165812-lva1-app6891/85/Y12-33-320.jpg)
![LEARNING OBJECTIVES
Yang Hongwei
This issue is quite complex.
Do you get inspired by books, movies, other people, other artists or
the events in the world, or your own inner state, your heart or head?
One important source of inspiration is life itself. Still, another
important source of inspiration is my work. By creating a piece, I find
inspiration for yet another one. Early Chinese art works drew their
inspiration from life, but I also like literature, fiction and poetry. At the
moment a lot of my inspiration comes as a result of meditation. I
engage in this [art] work 24 hours a day and work with like-minded
colleagues, which provides a lot of stimulation and thus inspiration. So
now, the source behind the works are these things, these issues, and
they make you think and thus you feel inspired.
What kind of issues are you talking about? Can you give me an
example?
For example, our [Chinese] culture and Western culture are different.
At university, I studied Western painting; before university I had
studied Chinese painting. I consider the relationship between these
two, how to use modern means of creation to reflect Asian
characteristics or character.
A particularly big problem is how to understand our traditional culture.
The techniques and materials that I am using come from the West,
including the mode of thinking. Have we or have we not lost
something in the process? Or should some of our works be rendered
in a way that carries some of our own identity, our cultural
characteristics.
You mentioned that you meditate. Tell me, is there influence from
Buddhism in your work?
I never considered or thought about Buddhism in my work, but
Buddhist thought has helped to solve some confusion in my head. I did
not intentionally use religion, but I found that it can help you resist
outside interferences and temptations. While I am creating art, I am
really engaged in my work and I can block out everything else. One of
the issues facing us today is that we are now materially rich, but how
do we come back and find inspiration. This is a bit like a Buddhist
meditative practice. It helps us to forget about our material wants and
needs that are made so attractive in our society today. I use this
meditation as a protective wall from unwanted outside influences.](https://image.slidesharecdn.com/y12-151108165812-lva1-app6891/85/Y12-34-320.jpg)
![LEARNING OBJECTIVES
Yang Hongwei
courtesy the artist.
A large work such as Tian Yi Sheng Shui, how long did it take you to complete it?
It took around a year and a half. I worked on it every day for six hours. I worked on it alone. It is not the kind of work that anyone can assist you with. The
For a work like Tian Yi Sheng Shui, do you first start with a complete idea of how a work should look like once completed, or do you begin yo
When I start working I already have an idea of where I want to go, but during the working process I adjust the work and my ideas. The water in front of yo
What do you think is the role of artists today?
Today’s artists, through the creation of their art, tell people how to face problems, how to think about issues. I think if you create a new visual experience
Yang Hongwei on… teaching art
You are associate professor at CAFA where you teach art to young students. What exactly do you teach?
I teach them how to create art. I do not teach them printing or printmaking. Using woodcut and wood engraving as their medium, they create their own w
Do you teach them the theory or the practical aspects as well?
We have both. I teach them so that through the creation of their art they find their own voice, their own way. I help them to grow.
Are there many artists that take up woodcut or wood engraving?
Sometimes there are very few. Their numbers are far fewer than students who study oil painting. But every year at graduation time, the works from the s
How are they the best?
Writer’s Note: Yang Hongwei was showing examples from his students’ graduation work when answering this question.
This is my students’ work. In our school, [the] printmaking [department] is considered the best.
Yang Hongwei on… the Chinese art market
In the 2012/2013 winter, you had three shows running concurrently in Beijing, Guangzhou and Chengdu. How do you juggle three exhibitions at the same time? Is it stressful, or are the galler
White Space Gallery has given me a lot of support and help. I still feel that Beijing’s White Space Gallery and the relationship I have with it is the most co
Yang Hongwei, “Ebb”, installation view, White Space Beijing. Image courtesy White Space Gallery.
How do you find dealing with galleries? Has it changed much during your career? Do you feel that the gallery scene in China is more mature
As your art develops and matures, cooperating with galleries also becomes easier. It becomes a more straightforward relationship. Overall, the gallery s
Yang Hongwei on… future plans
You are currently enrolled in a PhD program with Professor Xu Bing as your supervisor. What is your PhD focussing on?
I am enrolled in the Printmaking Department, but printmaking is only one form. I am thinking of using the many forms of printmaking to present a piece o
Why did you choose Professor Xu Bing as your PhD supervisor?
He is a world renowned artist. This is a very important reason. He gives me a lot to think about, such as the internal logic of art, a mode of thinking. In fa
Yang Hongwei’s responses were translated from Chinese into English by Qi Mei Ling and Nooshfar Afnan.](https://image.slidesharecdn.com/y12-151108165812-lva1-app6891/85/Y12-35-320.jpg)
Y12
- 1. HUMAN FORM WORKSHOPS BRING BASIC EQUIPMENT – DEFINITELY LAP TOP PLEASE Expected 1 hour per night homework and 3 additional studio hours (am or pm?) WL – The portrait (painting) LM – The body (inc. print) POST 16 MAKING PROGRESS @ BRJ KEEPING YOUR FILE NEW STANDARDS EXAMINATION January 1 2016 Component one 10 hours examination – 12 weeks preparatory period
- 2. H201/01OCR Level 3 Advance subsidiary GCE Art and Design: Fine Art
- 3. H201 25% each A01 Develop ideas through sustained and focused investigations informed by contextual and other sources, demonstrating analytical and critical understanding. A02 Explore and select appropriate resources, media, materials, techniques and processes, reviewing and refining ideas as work develops. A03 Record ideas, observations and insights relevant to intentions, reflecting critically on work and progress. A04Present a personal and meaningful response that realises intentions and, where appropriate, makes connections between visual and other elements.
- 4. WORKSHOP LEARNING OBJECTIVES – Hands, Arms, Feet and Limbs Dyeing paper to create a different surface – describe and explain Exploit drawing skills – contours, tone and line – describe and explain Make notes – describe and explain: shape, form, negative space, structure
- 6. INDEPENDENT WORK MUST Double page spread of hands studies on dyed paper + historical/contextual notes on Leonardo Da Vinci SHOULD attempt a coloured pencil study on dyed surface – see D Hockney colouring pencil drawings
- 7. WORKSHOP LEARNING OBJECTIVES – Hands, Arms, Feet and Limbs EXPERIMENTAL Dyeing paper to create a different surface – newsprint/tea/white chalks – describe + explain processes Print limbs (arms/legs) white paint (poster) Draw on top of limbs in charcoal and chalks – wet and dry
- 8. WORKSHOP LEARNING OBJECTIVES – Cloth ALBERT DURER Dyeing paper to create a different surface – burning paper INDEPENDENT WORK Exploit drawing skills – contours, tone and line – describe + explain
- 9. WORKSHOP LEARNING OBJECTIVES – Cloth EXPERIMENTAL Dyeing red Emulsion, coffee and pen wash A
- 10. WORKSHOP LEARNING OBJECTIVES Cloth EXPERIMENTAL Red Pages feet studies INDEPENDENT WORK Notes on Albert Durer inc. analysis of tone and line
- 12. COMMENT on LINE Line defines a space or object and creates an outline or contour. There are many ways of using line. Line can be: thin or wide; interrupted (dotted, dashed, broken); blurred; freehand; hatched (to create tone and volume); patterned. It is always worth asking yourself how the artist has handled line. Are the contours of the objects emphasised or hidden? What effect does this give? Strength, flow, action, cross hatch, rhythm, emotion,
- 13. LEARNING OBJECTIVES Diderot Prevost 1751 On brown paper – use biro to create high quality line studies and varnish (shellac/wood stain/PVA)
- 14. INDEPENDENT WORK Double page spread of feature studies on top of antique pages Present information on Diderot Prevost
- 15. LEARNING OBJECTIVES Gericault limbs or Gericault hands analysis How do we analyse works of art? Firstly describe what you see and what you think. Back this with the truth (found information). And then discuss the four themes: process, form, content, mood This is an oil painting. Delicate and soft, and gently dappled with a single, and natural light. Gericault’s studies of chopped limbs appear at first bizarre. And this one is strange and untrue. Gericault was inventing the sut limbs to offer his viewers a weird vision of reality. This realistic, still-life shows the idea of an event, one that has resulted in the death of the individuals whose severed limbs are arranged here, in a dramatic scenario that unleashes emotional responses. By creating such a traditional and detailed painting, Géricault succeeds in offering this macabre illustration importance and status. It is as if the painter was hoping to dissolve the boundary between the life and death. There is though an air of tenderness in the way in which arm is draped around a foot. The hand could be female and it touches the man’s leg. This intimate interlacing of body parts I believe may also conceal an element of eroticism. I have found out that the limbs were possibly painted after living models. Géricault painted fragments of body parts not only as preparatory studies for the greatest of his masterpieces, the Raft of the Medusa (Paris, Louvre); but some he painted later as works more or less in a genre of their own: starting from functional oil sketches, he developed them into great paintings now hung in international galleries, renowned across the world.
- 16. LEARNING OBJECTIVES Gericault limbs or Gericault hands analysis How do we analyse works of art? Firstly describe what you see and what you think. Back this with the truth (found information). And then discuss the four themes: process, form, content, mood
- 17. LEARNING OBJECTIVES https://www.flickr.com/photos/ummatiddle/ Photography: inside v outside NOTES PLEASE 3 point lighting: main, fill and back in the studio against chosen backgrounds v time of the day – natural lighting with reflectors/gels
- 18. LEARNING OBJECTIVES https://www.flickr.com/photos/ummatiddle/ Photocopy limbs – INDEPENDENT cut and paste to create surface - work on top of
- 19. LEARNING OBJECTIVES EVIDENCE of UNKNOWN ARTIST https://www.flickr.com/photos/ummatiddle/ Life drawing: White pens + and threads on photo backgrounds INDEPENDENT Printed limbs/collage +photomonatge
- 20. Zhang Ying Female BA Printmaking Department Central Academy of Fine Arts Beijing (2005) Now teaches in Central Academy Exhibitions: Chen Du International Biennial Chen Du MOMA Central Academy of Fine Arts Museum
- 21. LEARNING OBJECTIVES Zhang Ying wood cut Analyse + transfer Composition and tone INDEPENDENT HISTORICAL + CONTEXTUAL Lesser known artist: What can you discover?
- 23. LEARNING OBJECTIVES Photograph in confined spaces Use white board as a transfer pen + wash
- 29. Art critique = evaluation of a work of art It is true that artistic taste is relative but… certain characteristics i.e, measuring the artist's success at conveying the intended message or meaning Art criticism is an art within itself each critique may approach art uniquely But there is a defined protocol Do not have to be an art history buff or museum curator Process, content, form, mood will help
- 30. Critical Describe what you see. It involves a technical description-nothing more. It should include things like: Artist's name, title of work, period, movement 1. Type of artwork (process) 2. Subject of the painting (content) 3. Objects in the painting 4. First impression––note the characteristics of the artwork that first jump out at you 5. Colour, light, shadow 6. Shapes, lines and texture (form) 7. Light saturation 8. Sensory qualities––identify the predominant mood and visual effect. Aesthetic sensation(mood) For example, its value may be to evoke nostalgia, to incite anger or to impart beauty. Explain why you feel this way.
- 31. • Expound on the feeling conveyed by the artwork. Describe what the artwork means to you, and why. • Identify symbols in the artwork and describe how they relate to the intended purpose
- 32. • Describe the artwork's relevance to the art community and to people as a whole • Explain how the artwork fits into its historical and cultural position, inc influences
- 33. LEARNING OBJECTIVES Yang Hongwei Noted Chinese author and critic Li Tuo wrote, in an article titled “New Technique and New Concept – Yang Hongwei’s Wood Engraving”, “I believe that the wood engraving of Yang Hongwei is worth our careful consideration.” What compelled him to make this statement? Early examples of Yang’s innovation can be seen in the masterful execution of colour wood engraving in the works created for his master’s degree, such as Solar Eclipse (2007 to 2008). In 2009, with large scale works such as Tian Yi Sheng Shui (Heaven Giving Birth to Water), Yang played with the general perception that printed paper is the final product of a woodcut, offering instead the actual cut wood block as a finished piece. In 2012, he explored sculpture in his “Shang” series, where he carved on traditionally styled Chinese chairs. In his latest solo exhibitions (three held in three different Chinese cities in 2012), he ventures into installation work. How was your childhood? My childhood was hard, very hard. When I was a young child of around eight years old my mother passed away. From then on, I did not have a stable home environment. A mother is most important in the life of a child, so her passing had a great impact on my inner life, but it did not crush me, it did not affect my character in a negative way. I felt like a wanderer, but stayed optimistic. On the other hand, if my mother had not passed away I would not have chosen to study art. When I was young, I was a good student because my mother was very strict with school work. After her passing there was no one to push me on or help me with my school work. If my grades had been better I might have chosen another profession, such as literature, science or engineering. So because I was not doing well academically, my interest turned toward painting instead. We lived in difficult economic conditions and there was no one to give us toys, therefore I would make my own toys and so became sensitive to [making things with my hands]. The most dramatic change after the passing of my mother was that I had to help around the house, including looking after my younger brother. I was too young to earn money, but I had to do my share in the running of the household. This was very important because it slowly taught me the ability to think independently. As there was no one at home to help me, I was forced from a young age to think for myself and come up with solutions for different problems. Who or what had the biggest impact on your life? The most important person would be my mother. The second person would be a classmate of my father, who was a middle school teacher. He did not influence me directly, but it was through him that I got to know someone else with whom I started painting. [This person] is still a good friend and still lives in Tianjin. He was my first sketching partner. Another person who greatly influenced me was an elderly man who has since passed away. He was around seventy years old and the first person to teach me traditional Chinese painting. When I was around nine or ten years old he started teaching me. For seven years I did traditional Chinese painting.
- 34. LEARNING OBJECTIVES Yang Hongwei This issue is quite complex. Do you get inspired by books, movies, other people, other artists or the events in the world, or your own inner state, your heart or head? One important source of inspiration is life itself. Still, another important source of inspiration is my work. By creating a piece, I find inspiration for yet another one. Early Chinese art works drew their inspiration from life, but I also like literature, fiction and poetry. At the moment a lot of my inspiration comes as a result of meditation. I engage in this [art] work 24 hours a day and work with like-minded colleagues, which provides a lot of stimulation and thus inspiration. So now, the source behind the works are these things, these issues, and they make you think and thus you feel inspired. What kind of issues are you talking about? Can you give me an example? For example, our [Chinese] culture and Western culture are different. At university, I studied Western painting; before university I had studied Chinese painting. I consider the relationship between these two, how to use modern means of creation to reflect Asian characteristics or character. A particularly big problem is how to understand our traditional culture. The techniques and materials that I am using come from the West, including the mode of thinking. Have we or have we not lost something in the process? Or should some of our works be rendered in a way that carries some of our own identity, our cultural characteristics. You mentioned that you meditate. Tell me, is there influence from Buddhism in your work? I never considered or thought about Buddhism in my work, but Buddhist thought has helped to solve some confusion in my head. I did not intentionally use religion, but I found that it can help you resist outside interferences and temptations. While I am creating art, I am really engaged in my work and I can block out everything else. One of the issues facing us today is that we are now materially rich, but how do we come back and find inspiration. This is a bit like a Buddhist meditative practice. It helps us to forget about our material wants and needs that are made so attractive in our society today. I use this meditation as a protective wall from unwanted outside influences.
- 35. LEARNING OBJECTIVES Yang Hongwei courtesy the artist. A large work such as Tian Yi Sheng Shui, how long did it take you to complete it? It took around a year and a half. I worked on it every day for six hours. I worked on it alone. It is not the kind of work that anyone can assist you with. The For a work like Tian Yi Sheng Shui, do you first start with a complete idea of how a work should look like once completed, or do you begin yo When I start working I already have an idea of where I want to go, but during the working process I adjust the work and my ideas. The water in front of yo What do you think is the role of artists today? Today’s artists, through the creation of their art, tell people how to face problems, how to think about issues. I think if you create a new visual experience Yang Hongwei on… teaching art You are associate professor at CAFA where you teach art to young students. What exactly do you teach? I teach them how to create art. I do not teach them printing or printmaking. Using woodcut and wood engraving as their medium, they create their own w Do you teach them the theory or the practical aspects as well? We have both. I teach them so that through the creation of their art they find their own voice, their own way. I help them to grow. Are there many artists that take up woodcut or wood engraving? Sometimes there are very few. Their numbers are far fewer than students who study oil painting. But every year at graduation time, the works from the s How are they the best? Writer’s Note: Yang Hongwei was showing examples from his students’ graduation work when answering this question. This is my students’ work. In our school, [the] printmaking [department] is considered the best. Yang Hongwei on… the Chinese art market In the 2012/2013 winter, you had three shows running concurrently in Beijing, Guangzhou and Chengdu. How do you juggle three exhibitions at the same time? Is it stressful, or are the galler White Space Gallery has given me a lot of support and help. I still feel that Beijing’s White Space Gallery and the relationship I have with it is the most co Yang Hongwei, “Ebb”, installation view, White Space Beijing. Image courtesy White Space Gallery. How do you find dealing with galleries? Has it changed much during your career? Do you feel that the gallery scene in China is more mature As your art develops and matures, cooperating with galleries also becomes easier. It becomes a more straightforward relationship. Overall, the gallery s Yang Hongwei on… future plans You are currently enrolled in a PhD program with Professor Xu Bing as your supervisor. What is your PhD focussing on? I am enrolled in the Printmaking Department, but printmaking is only one form. I am thinking of using the many forms of printmaking to present a piece o Why did you choose Professor Xu Bing as your PhD supervisor? He is a world renowned artist. This is a very important reason. He gives me a lot to think about, such as the internal logic of art, a mode of thinking. In fa Yang Hongwei’s responses were translated from Chinese into English by Qi Mei Ling and Nooshfar Afnan.