謝曉澤繪畫個展
[size=3][font=新細明體]謝曉澤繪畫個展四月十一日至五月三十一日在芝加哥[/font][font=宋体, MS Song]Zolla/Lieberman
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[size=3][font=新細明體]這是旅美藝術家謝曉澤在芝加哥的首次個展。除了廣為熟知的描繪堆積的報紙的油畫，這次展覽推出了近兩年他在結合繪畫和媒體方面的實驗。謝曉澤以某張現存的報紙為基礎，在畫布上重新構造了報紙正反兩面透疊的效果。報紙反面的文字和圖像似乎滲透了薄薄的紙張，與正面互不相關的內容互相重疊，碰撞；復雜的畫面時而含混，時而清晰，以新的手法表現了當代生或中媒體信息的密集轟炸，和我們透過媒體對當下事件觀察和理解的不確定性。[/font][font=新細明體][/font][/size]
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[font=宋体, MS Song][size=3]Xiaoze Xie solo exhibition "Both Sides Now" at Zolla/Lieberman Gallery in Chicago, April 11 - May 31, 2008[/size][/font]
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[size=3][font=宋体, MS Song][color=black]Xiaoze Xie [/color]has long been interested in books and newspapers as carriers of cultural memory. Xie’s subjects over the years have included [color=black]the peeling backs of old books lined up on library shelves and painted with a hyper-realism that, paradoxically, verges on abstraction. Another recurring subject has been piles of newspapers, again painted with a seductive realism. These works, in which only bits of headlines, article texts or fragments of front page photographs are visible, become tantalizingly incomplete records of tumultuous events. Several examples of these works are included here. [/color][/font][/size]
[size=3][font=宋体, MS Song][color=black]This exhibition also includes several paintings that represent a new departure for the artist. In the new works[i],[/i] Xie presents paintings of newspapers in which it appears that the texts and images on the back side of the page have bled over onto the front. As it result, these works operate as palimpsests, in which unrelated sets of information are laid over each other, making it possible for the viewer to read one through the other. Xie’s sources here include Italian, English and Arabic language newspapers. The interminglings of text and image reveal the pervasiveness of violence world-wide, as is evident in the [/color]building in a Beirut suburb torn open by an Israeli airstrike in [i]August 8, 2006, N.Y.T. (New York Times).[/i] [color=black]To create the layered effect, Xie creates the images in two stages, first painting the “back page” image, and then, after slightly obscuring it with a layer of translucent paint, laying the “front page” images over it. The results are at once intriguing and confusing, serving again as a metaphor for the indeterminate nature of our understanding of current events in the face of ongoing media bombardment. [/color][/font][/size]
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