I have fallen in love with people, with songs, with books and with places. But when it comes to visual arts, I’m picky—or insensitive. For instance, I’m not a movie person. I do watch movies and some TV but it’s mostly for entertainment, I don’t expect to be amazed and frankly, my cinematographic culture is pretty lame.
Same goes for other visual art forms such as drawing, painting, sculpture, etc. As an artist’s daughter, I spent a lot of time in museums and art galleries when I was young, and I was shown beautiful pieces. I can see why such and such work is exceptional but I rarely feel the intense experience of the sublime.
In 2003, while visiting Australia, I stumbled upon a public photography exhibition, “Moments of Intimacy, Laughter and Kinship – (M.I.L.K.)”, featuring a collection of candid shots. As corny as it sounds, I stood there and cried. This is when I started to develop an interest in photography. I was blown away by the emotions this medium could convey.
I’m not sure how I feel about modern art—hell, I’m not even sure how to define modern art, and I’m not the only one facing this dilemma. Most of the time, I don’t get it. But for once, I did.
Huang Yong Ping, a Chinese Avant-garde artist, currently has works on display at the HAB Gallery on the Isle of Nantes. I stepped in not expecting much from yet another modern art exhibition.
Les Mues (sloughing) explores mythology, power strategies, and man’s capacity for creation as well as destruction. It oscillates between Eastern and Western schools of thought, and between the past and the future. For instance, Palanquin is a reflection on the colonial past, Banque de sable, sable de banque expresses the power and fragility of the capitalism financial system and the Carte du monde is an omen of natural catastrophes.
For some reason, his art spoke to me.
It was awesome.
You can see the complete set of pictures taken in France on Flickr.