Mixed Medium on Canvas
100 x 200cm
Adding a sublime twist, which many painters within this framework failed to grasp, the empty background areas in Fan Shaohua’s painting are actually filled. The elegance of this subtle manifestation of emptiness, with fullness, or vice versa, is best explained in the words of the Qing Dynasty painter, Fan Qi: ‘In painting, much is made of the notion of emptiness-fullness. It is through emptiness that fullness succeeds in manifesting its true fullness. All the same, how many misunderstandings need to be dispelled! People generally believe that it is enough to arrange to have a great deal of unpainted space in order to create emptiness. What interest does this have if it is just inert space? It is necessary that a true emptiness be in some way fully inhabited by fullness. It is emptiness – in the form of hazes, mists, clouds or invisible breaths – that carries all things, drawing them into the process of hidden change. Far from diluting space, these forms of emptiness confer on a picture the unity in which all things breathe as in an organic structure. Emptiness is therefore not at all outside of fullness, and still less is it opposed to it.’
In this case, the image of ‘wrinkled paper’ replaces the ‘hazes, mists, clouds or invisible breaths’. It creates a pictorial emptiness, the missing portions in a painting needed to complete a picture. Emptiness as necessary as the mouth, the nose and the pores; the openings and gaps in a body are necessary for one to breathe and sustain life.
- +Artist Bio
Fan Shao Hua was born in 1963 in the city of Guangzhou, China and began studying Chinese ink painting from the tender age of 10 at the Secondary School of Fine Arts (School of Fine Arts in Guangzhou). He graduated from the Guangzhou Academy of Fine Arts with a Bachelor of Arts. Besides winning the prestigious UOB 'Painting of the Year Award' in 2000 and International Premium Oil Painting Artist Award in Hong Kong, Fan has won numerous awards and exhibited in Singapore, Malaysia, Hong Kong, Taiwan, Korea, Japan, and Paris.
Petals of the Image: Fan Shaohua
In January 2010 and March 2010, Fan Shaohua held a solo exhibition at the prestigious Shanghai Art Museum and Beijing Art Museum. He has evolved as an artist; moving effortlessly from one distinct style and excelling in another.
Employing a fusion of mediums, his canvases employ vibrant hues tempered by bold strokes, marrying contemporary and traditional styles. He merges his western oil painting technique with the dramatic 'ink splash' and 'creased paper background', found in traditional Chinese ink painting. He paints in a refreshing myriad of colours that are instantly modern and harmonized in a delightful synergy. Developing from his acclaimed portraitures of dignitaries to his realist paintings imbued with social commentary, Fan explored Abstract Expressionism and Chinese Ink Painting in his latest series. Fan has not remained complacent and as an artist, has strived to search inwardly and gain inspiration from his surroundings. As such, he has evolved as an artist; moving effortlessly from one distinct style and excelling in another.
Fan's lotus series explores the flower in all its spiritual and philosophical meaning. Fusing Eastern and Western painting traditions, he depicts the beautiful symbolism of the lotus blooming resplendent out of the mud, in spite of its surroundings. With the background layer in many works, the texture is often created by the unexpected gradient of the handmade paper. This creasing-paper technique is found to in traditional Chinese Ink Painting and Fan Shao Hua has fused this with contemporary expressions of masterful brushstrokes. In most of Fan's paintings from the Lotus Series, the image of lotus, depicted with bold and spontaneous strokes of an ink painter with the medium of oil paint, grows out from the chaos of colours, drips and splatters. As the third layer, the lotus flowers, which seem to float above the surface, congenially disrupt the flatness, and points to a cyclical return to the figurative form.
By viewing Fan Shaohua's works in relation to these Oriental perspectives we can see clearly that his choice of the lotus as the theme in his latest abstract works is magnificent. As the recurrent symbol of purity and beauty, this flower, a subject for innumerable tales and metaphors, appears not just in the culture of the Middle Kingdom, but the rest of Asia as well, such as India and the Middle East. Complementing a wide variety of interiors, Fan's work can: illuminate a rustic living room; make a statement on a feature wall at the end of a corridor; add a burst of elation to the sleek calm of an office or create an oasis in a private bedroom.
“Moments Art Exhibition by Fan Shao Hua at Ode to Art Gallery, Singapore
“Life in Lion City, Art Exhibition by Fan Shao Hua at Tanjong Pagar Community Club
“Moment of Eternity” Solo Exhibition by Fan Shao Hua at Alliance Francais, SG Private Banking Gallery
Portraiture by Fan Shao Hua Oil Painting Exhibition, Singapore
“City Scene of Singapore” Fan Shao Hua Oil Painting, UOB Building, Singapore
“Building-Untrammelled Harmony of tradition and innovation”, Paragon Singapore
Fan Shao Hua Water Colour Painting and Oil Painting Exhibition, River Walk Centre, Singapore
Singapore Art Fair
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