Fou Gallery x Cite Galleries at 2017 Art Beijing | Booth E8

否画廊x西堤欧洲古典家具参展2017艺术北京 | 展位号: E8

Time | 时间: 2017. 4. 30 - 5.1, 11:00am–7:00pm; 5.2, 11:00am–6:00pm

VIP Night: 2017. 4. 29, 6:00pm–10:00pm

Location | 地点: Booth E8, Agricultural Exhibition Centre of China (New Hall,Hall 3), No. 16, Dongsanhuan North Road, Chaoyang District, Beijing, China | 全国农业展览馆（新馆三号馆）E8展位，北京市朝阳区东三环北路16号

主办方网站 | Organizer’s Website: http://www.artbeijing.net

媒体联络 | Press Contact: 何雨 Echo He (86-13811805611, echoyuhe@fougallery.com)

Worklist | 作品列表

Beijing - Fou Gallery is pleased to present works by Meng Du, Michael Eade, Lin Yan and Zhu Zhe at the 2017 edition of Art Beijing in collaboration with Cite Galleries - a renowned dealer of 18th century and 19th century European decorative art and antique furniture. The collaborative booth will present a unique exhibition context. In the home-like environment, contemporary artworks inspired by classic techniques and subjects are juxtaposed with western antique furniture. You are very welcome to stop by our booth that combines contemporary works and classical furniture between April 29––May 2, 2017.

Meng Du 杜蒙 is interested in preserving memories and keeping a record of them so they do not fade over time. With a natural instinct to extract meaning from narrative, she also wants to show memories in decay, as a way of memorializing them and showing the process of their slow disappearance from our consciousness. She incorporates the drawings and found objects, which come from her personal life experience into the surface treatment and imaging techniques of glass. To represent the nostalgic feeling and memories of certain times and places that she does not want to let go of.

Michael Eade 迈克尔·伊德 uses traditional egg tempera technique to depict contemporary subjects. He received a BA from Oregon State University and did further studies at the Staatlichen Akademie der Bildenen Kunste, Stuttgart for egg tempera painting techniques. Tree is a repeating metaphor in Eade’s work. He calls them “The Tree of Life.” As he says, “ I learned there is more than one ancient fruit forest in the Tian Shan region and that they are the genetic Eden to over 300 wild fruit and nut species including the wild apple, pear, plum, cherry, apricot and walnut to name a few. When I learned this I decided to incorporate pears and other fruits with the apples into my paintings. It is also a fact that all of these forests are in danger of extinction...Learning all this inspired me to visually eulogize this botanical Eden and create a landscape icon- The Tree of Life.” During his study, he realized that “The Tree of Life” can be found in different cultures. Therefore, the series becomes a practice to combine Eastern and Western landscape traditions: “Evolving together, filtered through my painting process and heavily referencing each other these paintings sustain a dialogue amongst themselves while providing different vistas of the remarkable Central Asian wild.”

Taoist thought remain in Lin Yan 林延’s life and art. She seeks the simplest possible use of elements in her work. Though her forms are quite minimal and mostly quiet, they are filled with complex impulses and nuances. The foundation of Lin Yan’s large sculptural paper collage is a variety of hand-made paper which has been used for Chinese traditional painting and calligraphy. The crumbled layers of soft handmade papers with ink create a paradoxical effect of strong, post-industrial feeling. Inspired by old Beijing architecture in her memory and industrial elements in her Brooklyn home, Lin Yan blur boundaries, embrace conflict, bring histories, past and present together. Aware of the struggle and resistance in the world, she balances this restlessness with the tranquility of her materials. Her images investigate the interrelation of Chinese traditional painting and modernist abstraction, and postmodern appropriation and ancient technical rigor. Began in 2013, Lin Yan has been doing site-specific installations in public art space.

The Vanitas series, which Zhe Zhu 朱喆 has been developing over the last two years, was inspired by a type of symbolic still life painting that flourished in Flanders and the Netherlands in the 16th and 17th centuries. These particular oil paintings, referred to as “Vanitas”, typically depicted decaying flowers, rotten fruits, skulls, hourglasses and other symbols to represent the transient nature of all earthly goods and pursuits, including the fleeting moments of both happiness and sorrow. Based on this concept, Zhe Zhu gathers objects that are in different stages of consumption or decay and arranges the photographic setting according to the composition of the old “Vanitas” paintings. Using either a large-format film camera or a medium format digital camera to record these images, the artist creates photographs that feel like actual Old Master paintings, which expresses a unique form of individuality in the face of our current age of consumerism.

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