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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260130
DTEND;VALUE=DATE:20260315
DTSTAMP:20260417T111355
CREATED:20260126T084017Z
LAST-MODIFIED:20260126T084017Z
UID:10022295-1769731200-1773532799@cultureplus.asia
SUMMARY:Nuria Mora: Waterfalls and Magpies
DESCRIPTION:Whitestone Gallery Hong Kong is thrilled to announce Waterfalls and Magpies\, the first solo exhibition by renowned Spanish artist Nuria Mora in Hong Kong. This exhibition will explore the dual nature of interpretation and the transformative power of narrative through Mora’s unique aesthetic\, which combines geometric abstraction with thoughtful dialogues inspired by the urban environment. \nWaterfalls and Magpies is inspired from a personal encounter between Nuria Mora and her friend during a moment of vulnerability. While caring for her friend who was feeling unwell\, a solitary magpie appeared on their terrace\, triggering feelings of fear and anxiety due to its association with bad luck in Western cultures. In contrast\, Eastern cultures—including those in China\, Korea\, and India\, celebrate the magpie as a symbol of good fortune\, joy\, and auspicious encounters. This striking contrast between interpretations prompted a deep exploration for Mora. \nThe magpie’s dual significance inspired her to reflect on how the same experience can evoke vastly different emotions and narratives depending on cultural context. This encounter served as a catalyst for Mora’s artistic exploration of perspective\, prompting her to consider how individuals can choose the stories they inhabit—narratives that can transform fear into hope and chaos into renewal. \nBy channeling these themes into her work\, Mora invites audiences to experience this extraordinary artistic journey. The exhibition symbolizes this journey with a waterfall that flows into countless reflections\, showcasing the infinite potential for transformation within narratives. Waterfalls and Magpies aims to celebrate the freedom of individual choice and emphasizes the ability to find light even in darkness\, revealing the multiple dimensions of symbols across different cultures. As a vibrant intersection of Eastern and Western cultures\, Hong Kong resonates deeply with this perspective\, embodying a rich tapestry of cultural coexistence. Mora’s art fosters open dialogue among the diverse environments of the city and encourages viewers to appreciate the various possibilities of narratives within our urban landscape through Waterfalls and Magpies.
URL:https://cultureplus.asia/event/nuria-mora-waterfalls-and-magpies/
LOCATION:Whitestone Gallery Chuk Hang Road\, 7/F\, M Place\, 54 Wong Chuk Hang Road\, Hong Kong\, Hong Kong
CATEGORIES:Painting,Sculpture
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250809
DTEND;VALUE=DATE:20250921
DTSTAMP:20260417T111355
CREATED:20250812T122949Z
LAST-MODIFIED:20250812T122949Z
UID:10021791-1754697600-1758412799@cultureplus.asia
SUMMARY:Contours of Expression
DESCRIPTION:Whitestone Gallery is pleased to announce the soft opening of its new Hong Kong space in Wong Chuk Hang with the group exhibition Contours of Expression. This exhibition brings together an extraordinary lineup of artists spanning different generations and practices: post-war Japanese artist Tsuyoshi Maekawa (b. 1936)\, celebrated painter Tetsuo Mizù (1944 – 2025)\, contemporary duo Julie & Jesse (established 2012)\, and emerging talent Kohei Kyomori (b. 1985) — whose practices challenge traditional boundaries through a vibrant expression of contour and composition.
URL:https://cultureplus.asia/event/contours-of-expression/
LOCATION:Whitestone Gallery Chuk Hang Road\, 7/F\, M Place\, 54 Wong Chuk Hang Road\, Hong Kong\, Hong Kong
CATEGORIES:Painting,Sculpture
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2025/08/Contours-of-Expression.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250325
DTEND;VALUE=DATE:20250416
DTSTAMP:20260417T111355
CREATED:20250328T091758Z
LAST-MODIFIED:20250328T091758Z
UID:10021454-1742860800-1744761599@cultureplus.asia
SUMMARY:Miwa Komatsu: Sacred Nexus
DESCRIPTION:Whitestone Gallery Hong Kong is honored to present Sacred Nexus\, a solo exhibition by acclaimed Japanese artist Miwa Komatsu. Until now\, Miwa Komatsu has presented works under the theme of “Sense of Sacredness\,” aiming to evoke our inner spirituality. Now\, as embarking on a new venture\, the “Sacred Nexus” exhibition unveils over 20 new works by the artist. \nA “Sacred Nexus” is a confluence of sacred resonance — a place or moment where we can have spiritual interaction and dialogue with divine spirits and the natural world. Historical sites of worship\, lands imbued with earnest prayers\, and nature itself are the inspirations of Komatsu’s practice; she envisions the “invisible energy”\, and creates the intersection of the material and immaterial realms. By amplifying the resonance between her works and the viewers\, the audience is reminded of the sacredness deep within themselves\, prompting their connection to divinity in this new chapter of “Sacred Nexus”.
URL:https://cultureplus.asia/event/miwa-komatsu-sacred-nexus/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/png:https://cultureplus.asia/wp-content/uploads/2025/03/Screenshot-2025-03-28-at-5.16.00-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250208
DTEND;VALUE=DATE:20250316
DTSTAMP:20260417T111355
CREATED:20250119T235154Z
LAST-MODIFIED:20250119T235154Z
UID:10021304-1738972800-1742083199@cultureplus.asia
SUMMARY:Serenity
DESCRIPTION:Whitestone Gallery is honored to present Serenity\, a captivating group exhibition featuring the works of distinguished artists: Soonik Kwon\, Masayuki Tsubota\, and the duo Li Wei and Liu Zhiyin. Each artist brings a unique perspective and technique\, creating a dialogue that explores the intersections of culture\, memory\, and the natural world. \nSoonik Kwon (b.1959) was born in Seoul\, Korea. He graduated from the Fine Arts Department at the Sejong University. His mixed media paintings and installations were exhibited more than 30 times in solo exhibitions and more than 50 times in group exhibitions all over the world. Soonik Kwon’s technique involves repeatedly applying a mixture of fine soil and paint on canvas\, allowing it to dry before rubbing and piling graphite onto the interstitial spaces. He fills gaps between color surfaces with graphite\, creating a visual narrative of healing and memory. His works are the result of patience and time\, such layering of paint often takes up to a month to complete. Through this continuous practice\, the artwork takes shape in silent progression\, allowing the artist to gradually forget himself. This ongoing state of selflessness embodies the artist’s philosophical approach to creation — to live in the moment. \nBorn in 1976 in Osaka\, Japan\, Masayuki Tsubota (b.1976) is known for his exquisite carving and polishing techniques\, which define his minimal aesthetic. His works\, crafted from natural materials like wood and stone\, undergo a meticulous process of repetitive scraping to create interwoven and eroded lines. This technique\, combined with the use of painting pigments\, generates dynamic visual effects that resonate within the space. Inspired by his admiration for ancient wooden temples\, Tsubota mainly uses wood as his medium\, treating it as a “living\, breathing organism” that responds to its environment. Through careful selection of wood types and repetitive processes of sanding\, cutting\, and scraping\, he infuses his breath and pulse into his artwork\, creating a balance between sharpness and softness in the carved textures. His vibrant hues awaken viewers’ sensitivity to color\, encouraging a reevaluation of subtle emotions and memories that often go unnoticed. \nLi Wei and Liu Zhiyin (b.1980)\, a collaborative sculpting duo since 2010\, are graduates of the Luxun Academy of Fine Arts. Together\, they create thought-provoking works that explore the dynamic relationship between body and form. Li Wei represents the ‘body\,’ while Liu Zhiyin embodies the ‘form’\, infusing the body with essence\, energy\, and spirit. This interplay creates a rich narrative that explores the beauty and elegance of sculpture. Drawing inspiration from traditional Oriental culture\, the duo integrates contemporary sculptural experiences into their practice. Their works serve as visual vessels for transcendent spiritual insights\, employing color trends to evoke emotional responses and reach the soul through sight. The temperament of their sculptural language harmonizes with the essence of traditional Eastern philosophies\, allowing for a dialogue between current human experiences and timeless ideals. \nThis exhibition unveils the depth and complexity of artistic expression through the distinct voices of Soonik Kwon\, Masayuki Tsubota\, and Li Wei & Liu Zhiyin. Each piece invites viewers into a realm where time slows\, allowing the creative process to unfold as a meditative journey. Through their dedicated creations\, they reveal not only the beauty of their materials but also the profound connection between the artists and their art.
URL:https://cultureplus.asia/event/serenity/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/png:https://cultureplus.asia/wp-content/uploads/2025/01/Screenshot-2025-01-20-at-7.49.31-AM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241123
DTEND;VALUE=DATE:20250126
DTSTAMP:20260417T111355
CREATED:20241120T041624Z
LAST-MODIFIED:20241120T041624Z
UID:10021213-1732320000-1737849599@cultureplus.asia
SUMMARY:Tenmyouya Hisashi: Game of Thought
DESCRIPTION:Whitestone Gallery is delighted to present Game of Thought\, the first solo exhibition of Japanese artist Tenmyouya Hisashi in Hong Kong. The exhibition showcases a curated collection of works\, including both new creations and selected pieces from 2020. This exhibition offers a captivating exploration through the fusion of traditional Japanese themes and contemporary artistic expression. The opening reception will take place on 23 November 2024\, from 6 to 8 PM\, featuring a live Taiko drum performance\, with the artist present. \nThe highlight of the exhibition is the extraordinary piece Mickey Arrive (2020)\, a collaboration with Disney\, measuring an impressive 3 meters in width. This original artwork will be unveiled for the very first time\, inviting viewers to experience its striking presence and unique creativity. Mickey Arrive draws inspiration from the Shigisan Engi Emaki\, the oldest Emakimono (painted handscroll) in Japan\, created around 1150 during the Heian period. Designated as a national treasure by the Japanese officials in 2006\, it is one of the four great Emakimono of Japan. The piece features a distinctive Rinpa style presentation with a gold leaf background and an ancient color palette\, innovatively replacing the original child figure with Mickey Mouse\, infuses the artwork with interest and freshness\, redefining the possibilities of traditional art. \nIn addition\, the exhibition will also feature an intriguing selection of other works\, including animals in armor\, samurai\, and heroic teams\, each referencing classical Japanese themes while incorporating modern interpretations. For instance\, Sumo Wrestler Defeating a Yokai (2024) portrays a giant sumo wrestler battling Yokai — mythical entities from Japanese folklore that embody strange phenomena beyond human understanding. Together\, these pieces showcase Tenmyouya’s meticulous attention to detail and his ability to bridge the past with the present\, encapsulating the metaphorical depth and critical spirit for which he is known\, and offering viewers a unique lens to engage with traditional narratives. \nGame of Thought invites viewers to engage deeply with the art while embracing a playful spirit. The exhibition aims to blend contemplation and creativity\, presenting works that encourage reflection and spark joy\, ultimately transforming the viewing experience into an interactive journey that resonates on both intellectual and emotional levels.
URL:https://cultureplus.asia/event/tenmyouya-hisashi-game-of-thought/
LOCATION:Whitestone Gallery Hong Kong\, 80 Queen's Road Central\, Central\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/png:https://cultureplus.asia/wp-content/uploads/2024/11/Screenshot-2024-11-20-at-12.15.20-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241010
DTEND;VALUE=DATE:20241117
DTSTAMP:20260417T111355
CREATED:20240927T094732Z
LAST-MODIFIED:20240927T094732Z
UID:10021079-1728518400-1731801599@cultureplus.asia
SUMMARY:Takeo Yamaguchi X Sadamasa Motonaga: Forms and Fields
DESCRIPTION:Whitestone Gallery is thrilled to present Forms and Fields\, a duo exhibition showcasing the works of two seminal Japanese artists\, Takeo Yamaguchi and Sadamasa Motonaga. This exhibition celebrates the rich legacies and innovative practices of these artists\, who have indelibly contributed in shaping the landscape of modern and contemporary art in Japan and beyond. \nTakeo Yamaguchi (1902-1983) was a pivotal figure in the evolution of Japanese abstract art. Born in Gyeongseong (now Seoul) in Japanese-occupied Korea\, where his family owned a large farm\, Yamaguchi returned to Japan in 1921\, where he began studying Western painting under Saburosuke Okada. His artistic journey took him to France in 1927\, shortly after graduating from the Tokyo Fine Arts School. Yamaguchi stayed in Paris for four years and was influenced by modern masters such as Picasso and Yuzo Saeki\, he developed a distinctive style that melded his deep appreciation for traditional Japanese aesthetics with contemporary abstraction. His time in the atelier of the renowned sculptor Ossip Zadkine enriched his figurative sensibility and understanding of form. \nThe end of the Pacific War brought Yamaguchi into a new phase. The artist lost most of his early works in the war and seized the opportunity to start over a stage of exploring abstract forms and color fields. Yamaguchi’s post-war works are characterized by thick brushstrokes and a limited palette\, often focusing on black tones complemented by ochre and reddish-brown hues. This unique combination evokes the fertile soil of the continent and reflects the human experience in a profound way. Yamaguchi’s participation in prestigious exhibitions\, including the Venice Biennale (1956 and 1958) and the Sao Paulo Biennale (1956 and 1966)\, solidified his status as a pioneer of Japanese abstract art. He was also honored with accolades such as the Minister of Education Award for Fine Arts in 1961. \nSadamasa Motonaga (1922-2011) is celebrated as one of the leading figures of the Gutai Art Association\, a group renowned for its radical approach to art that emphasized experimentation and interaction. Joining Gutai in 1955 as one of its first generation artists\, Motonaga was instrumental in developing innovative concepts\, including ‘Water Sculpture\,’ which involves suspending vinyl bags filled with painted water—an embodiment of his playful approach to materials and forms. His unique style incorporates traditional Japanese painting technique ‘Tarashikomi’ where a second layer of paint is applied before the first layer is dry\, creating an unexpected dripping effect. During Motonaga’s stay in New York in the 1960s\, he started to introduce airbrush into his practice\, dispersing acrylic paint across the canvas to create his signature vivd-colored\, hard-edged forms. \nMotonaga’s works often explore themes of humor and accessibility\, making them resonant across generations. His international experience\, including the exclusive relationship with the Martha Jackson Gallery in New York and the International Centre of Aesthetic Research in Turin\, Italy\, further solidified his reputation as a significant contemporary artist. His participation in high-profile exhibitions\, such as the Venice Biennale and the Seoul International Print Biennial\, showcases his ability to engage with global audiences while remaining rooted in his Japanese heritage. \nForms and Fields invites viewers to engage with the dynamic interplay of Yamaguchi’s rich textures and Motonaga’s whimsical forms\, offering a unique exploration of abstraction through their distinct yet complementary lenses. Each artist’s work serves as a testament to their innovative spirits and enduring impact on the art world.
URL:https://cultureplus.asia/event/takeo-yamaguchi-x-sadamasa-motonaga-forms-and-fields/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2024/09/Sadamasa-Motonaga-Work-1971-Acrylic-and-oil-on-canvas-52.0-x-64.5-cm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240820
DTEND;VALUE=DATE:20240929
DTSTAMP:20260417T111355
CREATED:20240807T185132Z
LAST-MODIFIED:20240826T054938Z
UID:10020979-1724112000-1727567999@cultureplus.asia
SUMMARY:In the Matter of Color III
DESCRIPTION:Whitestone Gallery Hong Kong is pleased to present In the Matter of Color III. As a continuation of well-received Italian contemporary artists group exhibitions in Taiwan\, we are delighted to present Italian artistry in Hong Kong once again. \nCentered on the theme of color variability\, this exhibition brings together four prominent figures in Italian contemporary art: Turi Simeti\, Alberto Biasi\, Pino Pinelli\, and Natale Addamiano. These artists were active during the tumultuous time of the Italian post-war period in the 20th century\, yet they made audacious moves to meet new boundaries as new artistic movements emerged. Encompassing works spanning from the 1960s to recent years\, this exhibition invites viewers to probe the lesser-known aspect of Italian art. \nBorn in 1929 in Alcamo\, Sicily\, Turi Simeti is considered as a pioneering force in the Italian art scene\, championing a distinctive minimalist aesthetic that provokes audiences. Settled in Rome in 1958 where Simeti began his artistic career\, his early works inherited Alberto Burri\, a leading  figure of Arte Povera (the ‘Poor Art’ movement) and lauded for his use of diverse materials. Simeti befriended Burri while finding ingenuity in his own creation. Simeti’s composition are distinguished by nuanced expressions of oval shapes that dance across the monochromatic surfaces of canvases – black\, white\, grey\, yellow and occasionally\, a vibrant red. His work startlingly highlights the notion of minimalism and materiality\, emphasizing the physical presence of the artwork itself rather than an expression of the artist’s voice. In 1965\, Simeti participated in the exhibition Zero Avantgarde at Lucio Fontana Studio in Milan\, a testament to Simeti’s dedication of the oval motif. Over the subsequent years\, Turi Simeti played an active role in The Zero Group\, originated in Germany and can be defined as a reduction\, rudimentary presence of artistic form. Simeti is considered a progenitor of 20th and 21st Century Italian art. Simeti’s works have been showcased at renowned institutions such as the Solomon R. Guggenheim Museum in New York and the Peggy Guggenheim Collection in Venice. Further\, his works are part of the museum collection in various locations. Turi Simeti passed away in 2021 in Milan\, Italy. \nBorn in 1937 in Padua\, Alberto Biasi is a representative of Kinetic Art\, Programmed Art and Op Art. Praised for its elaborate precision and symmetry\, he delineates the phenomenon of optical distortion\, creating astounding works by PVC strips and painted designs. At the age of 22\, Biasi co-founded art collective Gruppo N (Gruppo Enne) with other contemporary artists\, positioning himself as one of the earliest pioneers in the realm of kinetic illusion. His first and one of the most recognized bodies of work\, Trama\, created in 1959\, are works of layered perforated papers\, cotton gauzes and metal wireslight\, when exposed to light and motion\, evoke a constellation-like effect that bewilder viewers’ sensation. Biasi’s work always encapsulates a collaborative ethos as he once said\, “I am a kind musical instrument manufacturer\, the viewer is the musician\, and the artwork is co-created by the artist and viewer.” This exhibition features numerous optical-dynamic works Biasi created during his formative years\, including the 1960s Trama to recent works resembling Ottico-dinamici (Optical-dynamic object). Biasi has partaken in many international exhibitions. Including the Venice Biennale in 1964 and 1986\, the Quadriennale of Rome in 1972\, 1986\, and 2004\, as well as the São Paulo Biennale in 1971. His works could be found in collections of MoMA in New York\, the Galleria Nazionale d’Arte Moderna in Rome\, and the Hermitage Museum in Saint Petersburg. \nPino Pinelli was born in Catina in 1938 and passed away this April. Pinelli was inspired by forerunners of The Zero Group. From the very beginning\, Pinelli’s intention was to eliminate symbolic tropes in traditional painting\, with an exploration in dimensionality from the confines of flat surfaces. This period of his copious research resulted in a newfound way to interpret monochromy\, which propelled him to the forefront of the ‘Pittura Analitica (Analytical Painting)’ movement\, characterized by an extreme reductiveness\, and with ‘Pittura’ signifying craftsmanship\, these works also focus on the materiality in an analytical fashion. Pinelli has participated in many crucial exhibitions such as the Venice Biennale in 1986 and 1997\, the Quadriennale of Rome in 1986 and 2006. Additionally\, his works have been exhibited in the Musée d’Art Moderne Paris and the National Gallery Rome\, among others. \nNatale Addamiano was born in Bitetto (Bari) in 1943 and currently lives and works in Milan. He graduated from the Brera Academy in Milan in 1972. For the next three decades\, Addamiano taught painting at the Brera Art Academy\, all the while having ample opportunities to experiment lithography\, engraving and etching. From 1977 onwards\, Addamiano has been passionately devoted to ‘en plein air’ (outdoor painting)\, as he returned to nature\, creating works outdoors constitutes his oeuvre with a sense of strength and profundity. Addamaino garnered widespread acclaim with his Starry Skies series\, which he began to create in 2000. This series made its first appearance at Milan’s Dep Art Gallery in 2021\, revealing deep\, atmospheric paintings redolent of the poetic Romantic Era. Through his masterful grasp of chromatic variability\, Addamiano expressed his enthusiasm in making an implicitly gleeful approach in traditional painting. Addamiano has participated in many significant exhibitions and received numerous awards\, including the Triennale dell’Incisione at Milan’s Palazzo della Permanente in 1991 and the Biennale di Milano in 1994. To date\, he has held many significant solo and group exhibitions\, and his works are widely collected by international institutions and private collectors.
URL:https://cultureplus.asia/event/in-the-matter-of-color-iii/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Design,Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2024/08/Pino-Pinelli-Pittura-G-2005-Mixed-media-40.0-×-60.0-×-6.0-cm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240620
DTEND;VALUE=DATE:20240811
DTSTAMP:20260417T111355
CREATED:20240614T103602Z
LAST-MODIFIED:20240614T103602Z
UID:10019553-1718841600-1723334399@cultureplus.asia
SUMMARY:Ay-O: Nijitsukai
DESCRIPTION:Whitestone Gallery is thrilled to present Ay-O: Nijitsukai\, a solo exhibition showcasing works by esteemed Japanese artist Ay-O. With a career spanning over six decades\, Ay-O has established himself as a pioneering force in the art world\, known for his dynamic and multi-sensory approach to art. The artist coined the term “Nijitsukai” (虹使い)\, which means “rainbow-charming” in Japanese\, inspired by the term “snake-charming”(蛇使い). This exhibition invites viewers to step into Ay-O’s vibrant\, energetic world and be captivated by his masterful command of color. \nTakao Iijima\, better known by his artist name Ay-O\, was born in Ibaraki prefecture in 1931. After he graduated from the Tokyo University of Education\, Ay-O made a splash in Japan’s art scene as part of the Demokrato Artists Association in the 1950s. Demokrato was an innovative group led by the surrealist artist Ei-Q to promote independence in the creation of art\, it was a place without judgment or hierarchy where Ay-O could create freely. In 1958\, Ay-O moved to New York\, where he met the important figures of the Fluxus movement\, such as the leader George Maciunas\, Yoko Ono\, and Nam June Paik. He collaborated with artists from various creative fields including painters\, musicians\, composers\, writers and dancers to break the barriers between different mediums of art. \nDeparting from conventional artistic practice\, Ay-O discarded artificial lines in his creation and came up with the idea of using all the colors at once. He started making visual experimental works covering everything around him in rainbow colors\, culminating in the creation of his renowned ‘rainbow’ pieces\, which propelled him to international recognition and earned him worldwide fame as well as the nickname ‘Rainbow Artist’\, following his exhibition at 33rd Venice Biennale in 1966. \nIn the 1960s\, he began producing prints with two trusted printers Tokuzo Okabe and Kenryo Sukeda. According to the artist\, “Back then\, print was belittled as ‘Hanga’ (half-picture) and looked down upon as inferior to oil painting.” However\, he believes that painters and printers hold equal standing as art creators. In 1970\, he won the Tokyo prize of the 7th Tokyo International Print Biennale with ‘Rainbow Hokusai.’ Through his lively and energetic printmaking\, Ay-O cemented his legacy as a pioneering artist who challenged the traditional hierarchies within the art world. \nHaving recently completed successful shows at prestigious institutions such as The Smithsonian’s National Museum of Asian Art and M+ Museum Hong Kong\, Ay-O’s work continues to captivate audiences worldwide. The rainbow prints\, in particular\, showcase a unique blend of whimsy and technical mastery\, offering viewers a kaleidoscopic glimpse into his imaginative world.
URL:https://cultureplus.asia/event/ay-o-nijitsukai/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2024/06/Ay-O-24-Colors-No.2-Rainbow-Mandala-1995-acrylic-on-canvas-130.7-x-162.1-cm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240518
DTEND;VALUE=DATE:20240616
DTSTAMP:20260417T111355
CREATED:20240501T034149Z
LAST-MODIFIED:20240501T034149Z
UID:10020749-1715990400-1718495999@cultureplus.asia
SUMMARY:Fantasia
DESCRIPTION:Whitestone Gallery is delighted to present a group exhibition featuring Japanese artists Go Yayanagi (b. 1933)\, Nobuko Watabiki (b. 1958) and Miyako Terakura (b.1994). The exhibition will showcase a diverse range of artworks that highlight the unique talents and artistic expressions of fantasies of these three accomplished artists. \nDeeply influenced by his sojourn in South America and Africa in the 1950s\, Go Yayanagi’s artistic pursuit is rooted from his daily interaction and studies of nature and animals. His works are characterised by fanciful figures\, refined black lines and vibrant colors. Yayanagi coined the term ‘Pop-Uki’\, which combines ‘Pop Art’ and ‘Ukiyo-e’ to describe his unique style of paintings and prints. The artist views Ukiyo-e as a traditional form of Japanese Pop Art and aims to incorporate contemporary pop culture and personal experiences into this traditional medium\, employing a fresh aesthetic approach. \nNobuko Watabiki painted in a uniquely curious style: ominous and joyful at the same time. The colorful\, quirky characters may be her self-portrait\, belying the deep introspection and path of self-discovery. The artist explored photo collage works at the beginning of her artist path and gradually established her distinctive style that utilizes Washi (Japanese paper) and oil pastel. By rubbing layers of oil pastel against Japanese paper\, Watabiki creates a distinctive\, fibrous and pilled texture that oozes softness and a sense of warmth. The intriguing motif\, sense of void from the eyes of the characters and the prosaic title leave unforgettable resonance to audiences. \nMiyako Terakura combines slip-casting and hand-molding techniques to create ceramic sculptures portraying infants and children with delicate expressions. She gives life and uniqueness to each of her creations by adding a rosy glow or a glaze of enamel to cheeks\, noses\, and lips. The artist puts a particularly large amount of emotion into painting their eyes\, as if this effort imbues each figure with a soul. It is her wish that as the sculptures are fired and the porcelain hardens\, they become vessels that draw in the prayers of people. \nDespite their individual styles and cultural backgrounds\, one thing that these artists have in common is their embracement of boundaryless imagination. Through their innovative works\, they invite viewers to delve into their whimsical narrative and engage with the world in an exceptional way.
URL:https://cultureplus.asia/event/fantasia/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2024/05/Go-Yayanagi-Fashion-Society-1980-acrylic-and-oil-on-canvas-112-x-162-cm-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240325
DTEND;VALUE=DATE:20240512
DTSTAMP:20260417T111355
CREATED:20240314T033617Z
LAST-MODIFIED:20240330T041954Z
UID:10020640-1711324800-1715471999@cultureplus.asia
SUMMARY:Aruta Soup: Ruins
DESCRIPTION:Whitestone Gallery is delighted to present Ruins\, a solo exhibition by esteemed Japanese artist Aruta Soup. The exhibition showcases the captivating artistic realm of Aruta Soup\, where social commentary and self-reflection converge. His work radically addresses the contradictions and psychological struggles of modern society. The artist’s visual lexicon – the bandage-looking Rabbit character named ZERO\, who frequently appears as wounded but reviving\, represents both inner struggles and optimism within the peculiar worldview of the artist. \nAruta Soup’s artistic language speaks to the core of British street art\, particularly his time spent studying at the Camberwell College of Arts in London and was heavily influenced by the graffiti and club scene in East London. His works resonate with elements of Western culture such as cartoons\, comical drawings\, and the visible graffiti art on the street. Through his freewheeling expression in graffiti\, Aruta Soup aims to engage with a broader audience\, delivering thought-provoking messages to the public spaces of Tokyo\, Paris\, London\, Berlin\, and beyond. \nRuins delves into Aruta Soup’s exploration of the odds and complexities that are inextricably tied to the 21st century\, while envisioning the inevitable decay that befalls his artworks within the test of time. The artist recalled his unusual finds of a mural painted by an unidentified graffiti artist many years ago near a deserted building. As the building was later demolished\, the spray-painted motif emerged fresh and etched within the cracked bricks\, sparking a profound epiphany for the artist. Aruta describes his feelings as a “sense of romance” when uncovering this mystical piece of art\, meanwhile to immerse in the subtle beauty found in the ruins. Contemplating the potential fate of his own creations\, he believes that art defies obsolescence\, transcending the confines of material decay\, even in its weathered state\, the art would continue to elicit wonder and pass on the messages. Aruta Soup’s vision is to create works that remain perpetually new\, untethered from fleeting trends and immune to the relentless march of time. \n 
URL:https://cultureplus.asia/event/aruta-soup-ruins/
LOCATION:Whitestone Gallery Hong Kong\, 80 Queen's Road Central\, Central\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2024/03/A7C0942-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240127
DTEND;VALUE=DATE:20240317
DTSTAMP:20260417T111355
CREATED:20240122T081843Z
LAST-MODIFIED:20240130T035412Z
UID:10020530-1706313600-1710633599@cultureplus.asia
SUMMARY:Tadaaki Kuwayama & Rakuko Naito: In Silence: An Ode to Nothing
DESCRIPTION:Whitestone Gallery Hong Kong is pleased to present a duo exhibition featuring the esteemed artist Tadaaki Kuwayama\, who sadly passed away last summer\, and his wife\, artist Rakuko Naito\, chronicling the exceptional artistic prowess they have honed through their decades-long careers. With a lapidary selection of works spanning from the 1960s to the present day\, this exhibition opens a visual dialogue between Kuwayama’s serialized art forms and Naito’s exploration in neutral materials. In 1958\, upon the artists’ relocation to New York\, Kuwayama and Naito created works to eschew the early Nihonga training (Japanese traditional painting) and the rave of Abstract Expressionism trend. Instead\, they developed their own distinctive styles. Despite their individual trajectories\, there remains a thematic similarity between them — a rejection of aesthetic conventions in favor of achieving a sense of nothingness. \nFor centuries\, our perception of the real world has been engulfed by a prism of conditioned thoughts\, making the pursuit of “nothing” elusive for us as emotional beings. However\, Kuwayama and Naito emerge as a rare example that delves deeply into the essence of nothingness\, with a deliberate reduction of space\, compositions\, narrativity\, and individuality within their artistry. Kuwayama aimed to pursue what the artist called “Pure Art\,” epitomizing the absence of ideas\, thoughts\, philosophy\, reasons\, meanings\, and even humanity in his work. \nMonochrome paintings are the most acclaimed amongst Kuwayama’s oeuvre\, while Naito presented hard-edged\, textured sculptural works. In 1961\, Kuwayama held his first solo show at the storied Green Gallery. Naito\, as well\, held her first prominent exhibition in 1965 at the World House Gallery located in the uptown Madison Street — a testament to the duo’s burgeoning talent. \nThis exhibition showcases some of Kuwayama’s monochromatic works from the 1960s\, such as TK6671-1/2-’68 and TK6371-1/2-’68\, the diptych features segments of vividly-colored paint on the canvas bisected by aluminum strips. From a distance\, the surface of these works appears inscrutable until one walks close and notices the sheen of the gallery light reflecting off the glossy finish achieved by combining acrylic paints with Japanese mineral pigments. \n\nIn 1970s\, Kuwayama’s artistic methodology was surrounded by industrial elements and his works are often presented in rectilinear forms. At this point\, the works are \nfurther distanced from traces of human narrative. Take TK17-7/8-12 as an example\, a notable piece from his post-millennium period set against the gallery’s white wall. This installation\, comprising a vast unified grid of titanium panels rendered in iridescent shades of green and pink\, is both entrancing and seemingly infinite\, evoking a serene allure of eternity.\n\n\nAlthough Naito’s affiliation with Nihonga was still present in her early artistic promotion in New York\, she swiftly transitioned to working on Minimal Art and Optical Art in the mid-1960s. In the following decade\, her works were represented by large scale Flowers series works. The artist is also best known for her vast exploration in neutral materials such as paper\, wood and cotton balls\, which she arranges geometrically within frames and employs techniques like rolling and folding\, sometimes burning incense are used in her paper assemblage. In RN936-3-1/2-16\, a resemblance of Naito’s Flower series in 1970s\, Japanese paper is arranged in a repetitive sequence while keeping the inherent color of the materials. These hard-edged geometricpaintings highlight a nuanced tendency between strength and vulnerability in Naito’s works\, at the same time\, manifest her desire to challenge pictorial flatness associated with Japanese art. Naito once said: “Japanese art is flat\, so my main concern was to challenge flatness.” \nTogether\, Kuwayama and Naito’s artistic journeys embody the purity of color\, form and composition\, defying aesthetic conventions as they strive for an unwavering pursuit of nothingness\, while simultaneously delivering an inherent spiritual experience.
URL:https://cultureplus.asia/event/tadaaki-kuwayama-rakuko-naito-in-silence-an-ode-to-nothing/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2024/01/DSC_4875.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231130
DTEND;VALUE=DATE:20240121
DTSTAMP:20260417T111355
CREATED:20231119T085343Z
LAST-MODIFIED:20231206T090821Z
UID:10020400-1701302400-1705795199@cultureplus.asia
SUMMARY:Debbie Reda: Masters
DESCRIPTION:Whitestone Gallery is delighted to present Masters\, a solo exhibition showcasing works by the esteemed artist Debbie Reda. The exhibition showcases Reda’s unique artistic vision\, which draws inspiration from art history while infusing it with her distinctive humor and irony. Reda embarks on a journey through art history\, paying homage to influential artists and artworks that have shaped her creative journey. With great reverence for those who have made significant contributions to the art world\, Reda’s selection reflects her deep admiration for masters who have left an indelible mark on the artistic landscape. Visitors to the exhibition will experience a delightful fusion of classic art references and whimsical reinterpretations\, as if stepping into a room filled with unexpected surprises. \nFor Reda\, the term “Masters” extends beyond the creators of masterpieces; it encompasses those who have taught invaluable lessons and provided guidance throughout her artistic journey. A master can be someone who offers wisdom\, guidance\, or advice that shapes one’s entire life. It includes those who find solace and harmony in nature and possess the ability to be at peace with themselves. Masters are individuals who radiate happiness and remind us of the beauty of simplicity. They are the ones who have left an indelible mark on us and whom we hold in high regard and admiration. Reda’s personal examples of masters include her mother\, who encouraged her artistic expression from a young age by allowing her to freely paint the walls at home\, and her grandfather\, who nurtured her imagination through collaborative collage projects\, even though his own interests leaned towards soccer players due to his admiration for Maradona. Reda’s personal journey as an artist is interwoven with her own experiences and the influence of those who have guided and inspired her. She acknowledges the significant impact of these mentors and their teachings. \nReda’s artistic journey is deeply influenced by her personal experiences and the mentors who have guided and inspired her along the way. She views the concept of “masters” not only as historical figures but also as individuals who have played a significant role in shaping her artistic development. In her earlier series “Lessons Learned\,” Reda explored the theme of mentorship and the transformative impact of guidance and support. \nThrough her whimsical illustrations and storytelling\, she celebrated the invaluable lessons imparted by influential figures in her life. This spirit of gratitude and acknowledgement of the people who have shaped her artistic identity permeates the “Masters” exhibition\, where Reda’s tribute extends beyond the art world to include family members\, friends\, and mentors who have left an indelible mark on her creative journey. By highlighting these personal connections\, Reda invites viewers to reflect on their own sources of inspiration and the profound influence that mentors can have on one’s artistic path. \nAmong the carefully curated references showcased in the exhibition are nods to Picasso’s lesser-known but profoundly introspective “Blue Period\,” Yoshitomo Nara’s illustrated wisdom\, Manet’s iconic “Lunch on the Grass\,” Matisse’s vibrant masterpiece “The Dance\,” and Van Gogh’s ethereal “The Starry Night.” Reda also incorporates the dynamic lines and graffiti-inspired elements of Keith Haring\, Cy Twombly\, and Günther Förg\, as well as iconic elements from contemporary artists such as Kaws\, Koons\, Murakami and Kusama. Through her art\, Reda pays tribute to revered masters she admires and longs to have met in person. \nTaking a record of the influence of Art Brut\, drawing and painting as a child\, the phenomenon of repetition appears in Debbie’s abstract work citing repetition exercises when one learned to draw as a kid. Her Monster Collection is her Figurative Series that defines her cartoonish visual style as a Childlike Neo-pop Art. The characters reflect humor and irony\, different moods and circumstances of everyday life. \nThis exhibition celebrates the intersections of art\, inspiration\, and personal growth. Through her unique artistic vision and creative prowess\, Reda invites viewers to embark on an artistic journey that transcends boundaries and creates a profound connection between the past and the present.
URL:https://cultureplus.asia/event/debbie-reda-masters/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/11/DSC_9717-Enhanced-NR.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231026
DTEND;VALUE=DATE:20231126
DTSTAMP:20260417T111355
CREATED:20231010T081732Z
LAST-MODIFIED:20231010T081732Z
UID:10018943-1698278400-1700956799@cultureplus.asia
SUMMARY:Sebastian Chaumeton: Baby Blue
DESCRIPTION:Whitestone Gallery is delighted to present Baby Blue\, a solo exhibition showcasing works by the esteemed artist Sebastian Chaumeton. The exhibition showcases Chaumeton’s profound exploration of childhood memories and the essence of creativity. His multi-layered works address issues surrounding the oversaturation of information and images in modern society whilst also conveying a weariness about the consequences of technology’s rapid advancements. \nBaby Blue delves into the depths of Sebastian Chaumeton’s personal journey of reconnecting with his childhood\, seeking to rediscover forgotten aspects and unravel further understanding through his creative drive. Growing up\, Chaumeton was often found with a pencil and paper\, immersed in drawing for extended periods of time. The act of drawing brought him a sense of concentration\, tranquility\, and contentment. In this exhibition\, he draws upon this innate connection with art to explore the fundamental question of “why” he creates. For Chaumeton\, the answer to this question is ever-evolving\, sometimes crystal clear\, allowing him to dive headlong into his work\, while at other times\, the creative path requires playful exploration before the purpose comes into focus\, and the foggy outlines of ideas transform into concise\, calculated lines of communication. To Chaumeton\, art is the means of conveying an idea—a channel through which he communicates with the world. \nSituated at the intersection of art\, crafts\, and history\, ceramics hold a unique position in Chaumeton’s exploration. In the realm of history\, ceramics act as archaeological markers\, preserving the imprints of past civilizations. Chaumeton finds inspiration in this role of ceramics and employs the medium as a conduit to tap into his own personal history. By working with ceramics\, he seeks to unearth memories and hidden artifacts from his childhood naivety\, with the intention of gaining a deeper understanding of the creative process. Early in life\, when one engages in artistic expression\, the boundaries surrounding creativity are minimal. Perspectives\, representation\, anatomy\, culture\, media\, education\, and societal consensus on fine art are absent\, allowing pure\, unadulterated imagination to flourish. \nBaby Blue showcases a diverse range of Chaumeton’s artistic expressions\, featuring thought-provoking paintings\, captivating sculptures\, and immersive installations. Through his masterful brushstrokes and meticulous attention to detail\, Chaumeton invites viewers to immerse themselves in a rich tapestry of emotions\, inviting introspection and self-reflection. His unique artistic style seamlessly blends realism and abstraction\, creating a visual language that resonates deeply with the viewer. \nIn this exhibition\, Chaumeton employs various processes to scratch at the surface of his inner child. One approach involves reimagining and reproducing some of his earliest drawings\, cherished by his parents from ages 3 to 10. These early artworks serve as a source of inspiration\, merging childhood memories with artistic influences that left a lasting impact\, such as the works of Hokusai or Rosseau. \nBy tapping into the freedom of a child’s mind\, Chaumeton embraces an “anything goes” mentality when selecting characters to adorn the physical and representational ceramic vessels. The vessels become canvases for his playful imagination\, resulting in a whimsical and liberating viewing experience for visitors. \nBaby Blue extends an invitation to viewers to reflect on their own objects of nostalgia and to reconnect with their inner child. Chaumeton believes it is essential to maintain a connection with one’s younger self\, as it nurtures and fosters creativity throughout life. By incorporating play into everyday life\, individuals can tap into their innate imaginative powers and explore their chosen avenues of creativity.
URL:https://cultureplus.asia/event/sebastian-chaumeton-baby-blue/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting,Sculpture
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/10/featured-Sebastian-Chaumeton-CRABBY-CATTY-2023-Acrylic-Oil-on-Canvas-120-x-80-x-3-cm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230921
DTEND;VALUE=DATE:20231022
DTSTAMP:20260417T111355
CREATED:20230920T011443Z
LAST-MODIFIED:20231016T050507Z
UID:10018899-1695254400-1697932799@cultureplus.asia
SUMMARY:Rebecca Bernau\, Sachiko Kamiki and Wu Shuang: Out Of My Cocoon
DESCRIPTION:Whitestone Gallery is honoured to present Out Of My Cocoon\, a group exhibition featuring the remarkable works of three acclaimed artists: Rebecca Bernau\, Sachiko Kamiki\, and Wu Shuang. While each artist possesses a unique artistic voice\, they share a deep commitment to exploring the depths of human emotion\, the intricate beauty of nature\, and our intrinsic connection to the world around us. “Out of my cocoon” signifies different stages of artistic development\, while also applicable to life and the spiritual maturation of mankind and personality. The cocoon symbolizes a place of retreat\, as an observer that roams through life before pupation\, perceiving the world through the filter of “glasses”. These glasses are shaped by inborn personalities and colored by the unique experiences of the individual.  \nThe cocoon phase can be seen as a period of mental digestion\, characterized by rest and passivity. After spending time in the cocoon\, the subject would have undergone rapid growth and transformation. Altogether\, observation\, cocooning\, and production form a constant cycle. All phases are necessary for happiness and functionality.   \nRebecca Bernau’s art developed from graphic design. This origin influences the approach\, colouring and composition to this day. Borrowed from classical painting is the intensive study of different characters and their gestures. The artist achieves motivic lightness through the reduction of the posture of the figures. When painting digitally\, she experiments with different brushes and colour gradients until the minimalist drawings achieve a strong expression. She describes herself as a representative of her generation\, who uses analogue and digital craftsmanship and mixes materials from both worlds on an equal footing. \nBorn in Tokyo\, Sachiko Kamiki studied at Joshibi University of Art and Design (Oil painting course)\, and got M.F.A in 2017 with “Fukuko Okubo Prize” (honourable mention from the University). In the same year\, her debut solo exhibition was held at Karuizawa New Art Museum. In this regard\, the prestigious monthly art magazine “Bijyutsutecho” (September Issue; 2017) ran an article about her interview. In 2018\, her first solo exhibition in Tokyo was held at Whitestone Ginza New Gallery with favorable reviews. In the following year\, her work graced the cover of “Monthly Gallery”\, new year’s issue. In commemoration of the 85th Anniversary of Tokyu Department head store\, her solo exhibition was held at Tokyu Department head store art gallery\, ended up with “sold out” show. In 2020\, the solo exhibition “TETRAD” was held at Whitestone Gallery Taipei. Kamiki’s works ask the viewers about the modality of human beings and modern society through symbolic metaphors. They are characterized by her broad perspective reflecting the rich literary background and contradistinctive simultaneously harmonious coloration. \nBorn in 1986 in Chongqing\, Wu Shuang is an outstanding young artist that works with Abstract Expressionism. In 2007\, she studied in Free Art Institution of Kassel University in Germany. In 2009\, she graduated from the BA Oil Painting in Sichuan Fine Arts Institute. After that she continued her study and graduated from the Master degree program in Engraving from Central Academy of Fine Arts in Beijing in 2014. Since then she lives and works in Beijing as a professional artist. Wu Shuang’s art is alluring\, she is good at using colours\, especially colours of high purity and clarity. She is able to mix a lot of bright colours\, which seem contrasted\, however in her work they are harmonious. Besides\, her art possesses deep and vast enthusiasm that is universal\, something that is rare for Chinese female artists. Under the seemingly free and open-minded appearance\, her work reflects severe and stern control as well as rationality. Wu Shuang’s work represents her adventurous spirit\, and it keeps on attracting people of different generations. For her distinct style\, she has collaborated with heavy-weight brands such as Mercedes-Benz China International Fashion Week for consecutive three years\, and her work is widely exhibited in China. \nWhen experiencing the works of Rebecca Bernau\, Sachiko Kamiki\, and Wu Shuang together\, viewers can expect a harmonious convergence of aesthetics\, emotions\, and narratives. The exhibition offers a rare opportunity to witness the interplay of distinct artistic voices\, united by a shared pursuit of exploring the human experience\, our relationship with nature\, and the profound connections that bind us all. By immersing themselves in this captivating showcase\, the audience will be inspired\, moved\, and transported to a realm where art becomes a powerful catalyst for introspection and cultural exchange.
URL:https://cultureplus.asia/event/rebecca-bernau-sachiko-kamiki-and-wu-shuang-out-of-my-cocoon/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/09/Rebecca-Bernau-In-the-Saddle-of-my-Horse-2023-Acrylic-on-framed-Dibond-70-x-70cm-.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230824
DTEND;VALUE=DATE:20230915
DTSTAMP:20260417T111355
CREATED:20230831T114615Z
LAST-MODIFIED:20230831T114615Z
UID:10020225-1692835200-1694735999@cultureplus.asia
SUMMARY:Shozo Shimamoto & Kazuo Shiraga : Action!
DESCRIPTION:Whitestone Gallery is honored to present Action!\, a duo exhibition showcasing works by two pivotal members of the remarkable avant-garde art collective Gutai Art Association: Shozo Shimamoto and Kazuo Shiraga. As Japan’s first radical postwar artistic movement\, the Gutai Art Association rejected tradition in favor of performative expression and physical engagement with a wide variety of techniques and materials\, established a space for intercultural and interdisciplinary exchanges\, and strived to raise the visibility and awareness of Japanese art in the international art scene. \nAs the co-founder of Gutai\, the publisher of Gutai Bulletin\, and later as the leader of AU (Art Unidentified)\, Shozo Shimamoto (1928 – 2013) was committed to establishing a network with international artists. Appropriating the developing art theory of the 1960s Abstract Expressionism and Ephemeral Art\, Shimamoto’s practice often involved smashing and throwing vases and bottles filled with paint on the canvas\, referred to as action painting. Like other avant-garde movements of the post-war era\, the rejection of the painting and representational forms within art was a significant leitmotif for the Gutai group. Shimamoto’s destructive intervention with the canvas perfectly embodied the spirit of the movement\, which favored concept over form\, seeking to expand the notion of art beyond the boundaries of traditional painting\, and his practice was furthermore fundamentally shaped by action painting. He says what draws the audience’s attention is what contains “unknown beauty.” Thus he repeated formative experiments in search of new art within non-art. The essence in the art of Shimamoto\, which can be understood as the trace of Action itself\, ultimately embodies the spirit of Gutai and contributes to attracting international attention to the Japanese contemporary art scene. \nAs the breakout star of the Gutai Art Association at the time\, Kazuo Shiraga (1924 – 2008) pursued a rapport between “body” and “matter” that anticipated a conceptual rubric that married theory with practice. Though abstract\, his works are read through the themes of Japanese cultural history and Eastern mythology and\, later\, through more spiritual ideas related to his mid-life conversion to Buddhism. Quickly establishing himself as a pioneer in “performance painting\,” Shiraga became colloquially known as the “foot painter.” After his 1955 performance “Challenging Mud\,” in which the artist wrestled a mixture of cement\, gravel\, clay\, plaster\, pebbles\, and twigs into a “formless form\,” Shiraga devised an entirely new painting technique. From 1959 onward\, he suspended himself from his studio ceiling\, swung back and forth\, and manipulated the paint exclusively with his ten toes to create a range of textures. As expected\, this action required a high degree of physical exertion and personal pain that came with the lacerations and bruises on his body. Referencing the ancient Japanese sumo wrestling tradition and the bond between the artist and the natural environment\, the violence of the gestures is synonymous with the fight for individuality and creative freedom in post-war Japan\, in which the body itself became the site and literal embodiment of emancipation. \nBy showcasing Shozo Shimamoto and Kazuo Shiraga in juxtaposition\, the exhibition highlights the legacy of the Gutai spirit\, tracing the thread of Action in the radical and poetic works of two postwar Japanese masters who exploited different mediums and created fresh art-historical dialogue through their innovative approaches to matter and individuation.
URL:https://cultureplus.asia/event/shozo-shimamoto-kazuo-shiraga-action/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/08/Kazuo-Shiraga-Fen-AP-Silkscreen-on-paper-1990.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230706
DTEND;VALUE=DATE:20230818
DTSTAMP:20260417T111355
CREATED:20230616T122051Z
LAST-MODIFIED:20230616T122202Z
UID:10020107-1688601600-1692316799@cultureplus.asia
SUMMARY:Tsuyoshi Maekawa\, Wang Yi\, Soonik Kwon: De/construct
DESCRIPTION:Whitestone Gallery is honored to present De/construct\, a group exhibition showcasing works by three Asian artists: Tsuyoshi Maekawa\, renowned second generation artist of the Japanese Gutai movement\, Chinese abstract minimalist Wang Yi and Korean artist Soonik Kwon who captures the essence of time through art practice. Together the artists express their unique interpretations of life and Eastern philosophy\, including the aura and energy of life. They deconstruct concepts and avant-garde ideas thus to diversify the way of reading a painting by carrying out unique experiments on artistic practice\, gesture and materiality.  \nDistinguished artist of the second generation of Gutai Art Association\, Tsuyoshi Maekawa(b. 1936\, Osaka)\, makes use of burlap as a signature medium throughout his career. Maekawa’s works have a strong tendency toward abstract expressionism and is known for his incredible use of materials. The artist uses a sewing machine and his hands to intentionally create wrinkles and textures of hemp and burlap canvas: experimentally twisting\, cutting\, tearing\, and shaping the canvas\, creating protrusions and void depth\, results in unprecedented works that blurred the boundaries between sculpture and painting. His at-the-time innovative methodology encourages the exploration of materiality and abstract concepts. With simple yet powerful lines like tidal currents and vivid colourful tones\, Maekawa’s practice reveals rich emotions and avant-garde ideas\, opening a dialogue between the artist\, viewers\, artworks\, and the spaces they inhabit\, connecting gesture marking\, spirit and his philosophy. \nWang Yi (b. 1991) seeks to combine slow and exquisite classical painting techniques\, standardized production of industrial materials\, modernist design and architectural paradigms to form abstract expressions that illustrate social mechanisms and natural elements. Wang Yi is one of the new generation of Chinese abstract artists. Many of them conceal political or social commentaries in their creations\, but those critique and confrontation of the realistic context are rooted in their diverse abstract art language. Wang Yi’s works use symbolic structures\, colors\, shapes\, and materials as a medium to explore the relationship between urban development\, ideology\, as well as history and nature that we are experiencing; and also to integrate it with China’s unique circumstances\, social mechanisms and cultural phenomena and grow new inner meaning. \nKorean contemporary artist Soonik Kwon (b. 1959\, Seoul) extends the charm and spirit of the Dansaekhwa movement in Korea\, tirelessly using minimal “Dots\, Lines\, and Planes” to study and meditate in his brushwork\, depicting every moment ‘as is’ including its aura and energy. Soonik Kwon mixes fine soil with pigments and superimposes a variety of coloration on the canvas to present a bright and vibrant color field. The “Interstate” series shown in this exhibition incorporates the artist’s unique philosophical views towards the relationship and harmony between the accumulation of time and physical space. Presented through the repetition of minimalist gestures that move across the canvas like whispers\, viewers are left with a space of silence and contemplation. The gradation of hue and texture changes with the accumulation of brushstrokes on the surface of the painting\, indicating the flow of instant moments and the results of the artist’s research.
URL:https://cultureplus.asia/event/tsuyoshi-maekawa-wang-yi-soonik-kwon-de-construct/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/06/Featured-Image-.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230517
DTEND;VALUE=DATE:20230630
DTSTAMP:20260417T111355
CREATED:20230504T085642Z
LAST-MODIFIED:20230616T065201Z
UID:10019874-1684281600-1688083199@cultureplus.asia
SUMMARY:Windows of the Soul
DESCRIPTION:Whitestone Gallery is thrilled to present our special group exhibition Windows of the Soul in celebration of the French May Arts Festival 2023\, featuring artworks by French artists Marion Flament\, Béchir Boussandel\, Jean Marie Haessle\, and Baptiste Tavernier. \nWindows of the Soul explores how artists see their mysterious and dream-like patterns\, with them\, they defy the dichotomous cosmology and relax its temporal and spatial laws. It also gives a glimpse of the landscape of the current or a historical era. As the artists freely express their truthful desire\, dreams\, and imaginations in interwoven compositions of peculiar figures\, they bring out narratives of life that transcend time and space.  \nAlongside realistic renditions\, their creation came to a new attempt at spiritual explorations. For the viewers\, these creative productions are openings to dreams\, to the essence of arts\, in which the window becomes an artistic witness to the brutalities or beauties occurring in the world. The possibilities are furthered in current times as we increasingly explore the outlooks of the future through windows and perspectives.
URL:https://cultureplus.asia/event/windows-of-the-soul/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Multimedia,Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/05/SmallMarion-Flament-Fire-Stained-Glass-2019-Stained-glass-76.0-×-142.0cm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230414
DTEND;VALUE=DATE:20230511
DTSTAMP:20260417T111355
CREATED:20230407T113040Z
LAST-MODIFIED:20230407T113040Z
UID:10019755-1681430400-1683763199@cultureplus.asia
SUMMARY:Kazuyuki Futagawa
DESCRIPTION:Whitestone Gallery H Queen’s is honored to present a solo exhibition of Japanese artist Kazuyuki Futagawa in Whitestone’s gallery space in Hong Kong.  \nFutagawa was born in Takamatsu City\, Kagawa Prefecture in Japan. When he was in high school\, he was determined to become a painter. After he graduated\, he studied traditional Japanese painting at Kanazawa College of Art. He then went to Tokyo University of the Arts to do further research on Nihonga (Japanese painting) where he learned the essentials of painting natural landscapes\, animals\, and plants during which he encountered the art of various famous Japanese painting masters such as Kawai Gyokudō (1873-1957) and was inspired to explore the relationship between human beings and nature through his works. \nIwa-enogu (Mineral Pigment) is the key material Futagawa used in his work. Such paint has been employed in historical Japanese painting which is made from minerals that have been ground into powder form and are to be used with glue to adhere the pigment onto the painting surface. The paint becomes more vivid and dense as the layers build up\, creating a sense of depth in the picture. The chroma of Futagawa’s painting seems to be between realistic and dreamlike\, like a piece of memory that has coalesced with the artist’s inner being. Futagawa has spent years of practice acquiring the technique of using such material which requires high proficiency especially in delineating the details of a painting. Despite ​​the efforts\, mineral pigment presents a unique coloration and glows like a diamond which truly embodies the beauty of the scenery and the artist’s love for nature. \nIn recent years\, new elements have appeared in Futagawa’s paintings. Silhouettes of human figures integrate into his landscape picture as if they are visitors to the natural scenery. They are surrounded by blossoms and greenery and got lost in the wildwood. It is the vastness of nature that reflects the frailty of human beings. Human beings should stay awed and humble towards nature. Futagawa published a series of works centered upon such motifs while he traveled to the prefectures within Japan to further research their history through historical site visits\, and painted the scenery that captures his experience. His painting resembles a double exposure in film photography. It records this ever-changing scenery while depicting one’s inner peace. Futagawa’s works present a sense of surrealism that exceeds traditional Japanese paintings. He has constructed a new form of realistic painting. The artist wishes one could appreciate the magnificent landscapes in Japan and the beauty of mineral pigment.
URL:https://cultureplus.asia/event/kazuyuki-futagawa/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/04/featured二川和之-Kazuyuki-Futagawa-記憶-森-Memory-Forest-2023-Panel-Paper-Mineral-pigments-91.0-×-116.8cm-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230317
DTEND;VALUE=DATE:20230407
DTSTAMP:20260417T111355
CREATED:20230329T011247Z
LAST-MODIFIED:20230329T011247Z
UID:10018433-1679011200-1680825599@cultureplus.asia
SUMMARY:Etsu Egami x Jy: The Philosophers
DESCRIPTION:Whitestone Gallery is honored to present a collaboration of two prominent contemporary artists Etsu Egami and JY. \nIn the midst of the pandemic\, Egami ventured into her reading journey during social isolation. It has driven her to create a series of portraits of modern literary masters\, and held a large-scale solo exhibition in GINZA SIX under the title “Star Time”. Egami was deeply impressed by the book “The Analects of Confucius and Abacus” written by modern Japanese entrepreneur Shibusawa Eiichi. Her attention shifted from modern times to the Spring and Autumn and the Warring States Periods in China. She believes the philosophies of the Hundred Schools of Thought that emerged in the chaotic times consistently have a profound message to the ones living in the present. While contemplating the philosophical literature\, the artist reflects on the modern social structure and begins to make portrayals of the ancient Chinese philosophers. \nThis exhibition presents a series of Etsu Egami’s symbolic portrait paintings. The paintings are characterized by bold and placid brushstrokes\, as well as vivid and robust colors\, capturing the essence of the Hundred Schools of Thought through the form composition. In consonance with the portraits\, JY’s calligraphic works of the classic idioms are presented. The two open up a new space of thoughts and present a new art form. \nThe artworks of the two artists perfectly harmonize and complete this series of works. In the process of creation\, the artists reconsider the relationship between portrait and text\, image and language. Spanning more than 2\,000 years\, connecting the ancient and the present\, the East and the West\, and reshaping the glory of the old times in the form of dialogues between oil painting and calligraphy.
URL:https://cultureplus.asia/event/etsu-egami-x-jy-the-philosophers/
LOCATION:Whitestone Gallery Hong Kong\, 80 Queen's Road Central\, Central\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/03/20230317_hk_Egami-x-JY_header_sp_1024x1024.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230111
DTEND;VALUE=DATE:20230212
DTSTAMP:20260417T111355
CREATED:20230104T051924Z
LAST-MODIFIED:20230104T085411Z
UID:10019392-1673395200-1676159999@cultureplus.asia
SUMMARY:Liu Ke: Ocean by My Left
DESCRIPTION:In the historical context\, the term ‘left’ has always represented a radical\, variable\, unpredictable\, and mobile state\, which resembles the deep and vast ‘ocean’. Meanwhile\, the opposite side represents a constant and coherent state\, which is constructed by the subjectivity of human beings. At the cliff of the border where the two infuse into each other\, I experience the state of extremity\, a state where inspirations surge up.\n— Liu Ke \nWhitestone Gallery H Queen’s is honored to present ‘Ocean by My Left’\, the first solo exhibition of Chinese artist Liu Ke in Whitestone’s gallery space in Hong Kong. This exhibition presents the artist’s symbolic line paintings\, and a series of works that originates from the concept of ‘conflict’\, presenting a spatial experience that exceeds abstractionism\, coalescing concepts of philosophy\, history and narrative quality. \n‘Rationality’ and ‘interrelationship’ have been the fundamental components of Liu Ke’s artwork. In the limited space of the canvas\, the artist observes the relationship between the dense vertical lines and the wide brushstrokes. The careful permutation of the elements creates tension between the entities as they press against each other in the picture\, congregating a concentrated force in the narrow space between objects. Despite the rational substructure of the painting\, the vortex-like brushstrokes and abstract symbols sometimes intrude into the pictures\, breaking the rigidity of the compositions. For the artist\, this is an act of confronting rationality. \nIn relation to the exhibition title\, ‘Ocean by My Left’\, a painting series characterized by the blue and black dichotomy is presented. Blue symbolizes translucency on the grounds of the latitude of the color in temperature and brightness\, fluidity\, unknown and freedom; Black symbolizes solidity and a structural construction. The two independent hues started to infuse into each other when placed together in Liu Ke’s painting. The artist consistently examines the potential of the two-dimensional realm in the painting. Using the uttermost elemental expression\, he often reflects on the history of Western Art\, which seems to be the extension of the artist’s identity as a scholar. For instance\, ‘The Woman Coming Down the Stairs’ series takes inspiration from Marcel Duchamp’s “Nude Descending a Staircase\, No.2” (1912). The artist studies the sense of rhythm and the dynamic overlapping  colors in the original work while adapting a different two-dimensional interpretation of the moving image. In addition\, Liu Ke started to incorporate casements in his paintings in recent years. He believes the device creates a dual ‘passage’ between the viewers and the two-dimensional painting\, allowing the viewers to voyage through a ‘vortex’ that entangles the conflicts and everyday emotional fragment. While investigating the dichotomy and the contextual relationship between the material sense and spiritual sense of the entities in the painting\, he created his very own language of abstract expressionism. \n  \n 
URL:https://cultureplus.asia/event/liu-ke-ocean-by-my-left/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/01/1672737434.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221029
DTEND;VALUE=DATE:20221224
DTSTAMP:20260417T111355
CREATED:20221018T092718Z
LAST-MODIFIED:20221104T032612Z
UID:10018118-1667001600-1671839999@cultureplus.asia
SUMMARY:Morita Manabu by WOOD × Yuyelai
DESCRIPTION:Whitestone Gallery H Queen’s is honored to present the duo exhibition of artists Morita Manabu by WOOD and Yuyelai at Whitestone’s gallery space in Hong Kong. With the cutting edge and forceful narration of the former\, and the organic and mellow tone of the latter\, the two artists of the new generation opened up a new conversation and demonstrated a newborn geometry\, bringing imagination and vitality to the viewers. \nMorita Manabu by WOOD (b.1986) depicts a virtual world with playful styles and street art’s sense of velocity that give the viewers a feeling of freedom. With variety in multi-layered media\, his canvas works attract the viewers with a Neo-futurism aesthetic by evoking layers in the animation production process. His stereoscopic metallic work looks as if the moment of birth were scooped out by a sharp-edged tool\, emitting a swinging time-axis. The artist reconsiders and contemplates human emotions and values by observing the world from the eyes of the only resident in his imaginary universe\, an artificial intelligence called NEO\, and his adventure in solitude. The cartoon-like interpretation is inspired by his enormous consumption of animations and manga (Japanese comics) from his childhood. The world of Morita is impressive for its freedom from the confines of the medium\, which reflects his exquisite freestyle of life. From street cultural brands like NIKE and atmos to luxury brands like MONCLER and Rolls-Royce\, his art has substantially impacted various fields of audiences and received greater attention as an artist in the years to come.  \n Yuyelai (b.1999) started her artistic journey from the intrinsic ‘animal nature’ in humankind. Her magnificent interpretation of the world named ‘Human in Animal’ has interrogated humans’ ‘raison d’être’ ’(reason for existence) by deconstructing their existing position. Her paintings share the theme of ‘animality inside humans’ and illustrate ephemeral imaginary landscapes where humans and animals meet and interact. Yuyelai irresistibly longs for the state before humans have endowed humanity. Her gaze is pouring into the very moment of the birth of human beings\, questioning their original state and true nature before being baptized by the name of ‘society’. The artist has been practicing calligraphy and seal carving since a young age and that contributed to the adaptation of  traditional Chinese ink-like fluid lines and watermarks in her works. The recurring rain-dripping layers on the canvas externalize Yuyelai’s aloof\, poetic\, rhapsodical expression\, which incessantly brings the audience a feeling of undiscovered nostalgia.  \nThe two young and emerging artists have been actively engaged in exhibitions and awards in Asia. Whitestone Gallery is enthusiastic to present to you the Neo-Nostalgia world in our Hong Kong H Queen’s space.
URL:https://cultureplus.asia/event/morita-manabu-by-wood-x-yuyelai/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2022/10/1666083730.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220503
DTEND;VALUE=DATE:20220701
DTSTAMP:20260417T111355
CREATED:20220419T113415Z
LAST-MODIFIED:20220627T024251Z
UID:10017659-1651536000-1656633599@cultureplus.asia
SUMMARY:Contrasting Confluences: Clément Denis\, Fabien Verschaere\, Karen Shiozawa
DESCRIPTION:Whitestone Gallery H Queen’s is thrilled to present a group exhibition “Contrasting Confluences”\, featuring French artists Clément Denis and Fabien Verschaere\, and Japanese artist Karen Shiozawa\, as an associated project of the French May Arts Festival 2022. The exhibition showcases a selection of acrylic\, oil and watercolor works\, spanning a variety of approaches from abstraction to figuration\, each offers nuanced ways of looking at\, interpreting\, and representing the world\, while exploring values of symbols and identities of individuals. \nClément Denis investigates the barriers of communication\, deploying plural works including mosaic and painting\, bringing the art of an artistic practice at the crossroads of human condition. His anthropological investigation results in a series of portraits of individuals that he invites to feel the same state of confusion. In fact\, sharing his own experience is a prerequisite to the act of painting. For the past ten years\, Denis has engaged with figments of memory and explored the body as a site of consciousness in his painting practice. Over time his works have evolved from dark and rich tableaus to more expansive works with sinuous lines and a bright\, acidulated palette. In 2021\, the lockdown due to pandemic led him to Noirmoutier where a premonitory dream inspired him a new series  – “The River Song”. In it he saw the island and his family home engulfed into water with only the treetops and the roof emerged. He pondered over the relentless climatic change and its consequences on nature\, as well as man’s initiatory path faced with the impending unavoidable calamity. “I often paint the flow of water\, as in a certain way water can absorb us” said Clément Denis. \nEver since his childhood\, Fabien Verschaere followed the maxim: Not a day without a line drawn – as Apelles\, an ancient Greek artist said. Nevertheless\, the reality of Verschaere’s world is hidden behind an enigmatic symbolism and references to history. Born with a mysterious disease\, the artist was hospitalized for the first 15 years of his life – it is understandable why the focus of his work is tightly connected to the exploration of human condition. Verschaere’s personal mythology does not lose touch with the reality – especially in his interest in telling stories of contrasts between life and death\, beauty and repulsion. Calling up the world of circus\, fairy tales\, comic books and his own fantasies in a vast organised chaos between fantasy and reality\, the artist invites us to look into reality through the hybrid creatures\, monsters and chimeras coming from his unbridled imagination. Artistic techniques he always comes back to are watercolors\, drawings\, paintings\, installations and film\, he recently experimented with painting on wood and ceramics. When looking into Verschaere’s imagery\, viewers enter the world between his dreams and nightmares. While finding a source of consolation in hard times\, the artist is able to create something beautiful from something that feeds on fear and abandonment. \nKaren Shiozawa depicts a boundless galaxy alluding to lost memories in her paintings. The artist is consistently seeking to expand the realm of communication mediated acrylic\, oil\, alkyd resin on wooden boards\, to build up the exceptionally appealing layers of light and shadow in the Milky Way. Growing up in The Netherlands\, her compositions and lines feature European elements such as wooden wind-mill\, classic-style arches and church steeples. To present the imaginary yet realistic scenes\, Shiozawa scrapes the paint away with different sizes of technical pens. Crystal Church (2022)\, a featured artwork in the exhibition\, depicts light passing through the stained glasses and overlapping each other\, reflecting a veil of light surrounding the church building. As if the artist’s childhood memories arising from her glass treasure box. “Bridging people’s consciousness to consciousness\, recognition to recognition\, I would like to create artworks which can capture people’s voice of heart that people could not notice in the real world.” said Shiozawa. \nIt is the first time Whitestone Gallery participates in French May\,  featuring our exhibition as an associated project of the French May Arts Festival 2022. Established in 1993\, French May is one of the largest cultural events in Asia. With more than 150 programmes presented across two months\, it has become an iconic part of Hong Kong’s cultural scene that reaches over 1 million visitors each year. For 29 years\, French May has been both truly international and distinctly local and wishes to contribute to the unique appeal of Asia’s World City.
URL:https://cultureplus.asia/event/contrasting-confluences/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2022/04/Fabien-Verschaere-Self-Portrait-2021-Acrylic-on-paper-80-x-60cm-feature1.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220325
DTEND;VALUE=DATE:20220424
DTSTAMP:20260417T111355
CREATED:20220317T074939Z
LAST-MODIFIED:20220318T061516Z
UID:10017618-1648166400-1650758399@cultureplus.asia
SUMMARY:Chen Yingjie: The Dust of a Long Journey
DESCRIPTION:Whitestone Gallery H Queen’s is honored to present “The Dust of a Long Journey”\, the first solo exhibition of Chinese artist Chen Yingjie in Whitestone’s Hong Kong space. The exhibition comprehensively showcases the artist’s creative context and development in recent years\, especially the philosophical thinking and new attempts of painting revealed in “Gravity” and “Shangri-La” series. In the unprecedented pandemic times\, Chen contemplates the dialectical relationship between man and nature\, ecology and civilization\, as well as self and other. The artist attempts to explore the eternal tension between artist and art through his action paintings incorporating abstract and figurative components\, and rediscover the position of the individual spirits and regional cultures in the ever-changing world. \nThe exhibition showcases over 20 works including works from “Gravity”\, “Reconstruct Universe” and “Breaking” series\, as well as some of the artist’s video materials\, which not only extends Chen’s long-standing flamboyant personality and enthusiasm in his creations\, but also alludes to his little- known delicate and introspective qualities. The exhibition presents the explorations in his current creations that are restrained yet free\, and the rich contradiction and harmony\, “synchronicity” in his paintings.  \nThe series “Breaking” recreates the classic dragon image in Chinese culture through the innovative use of street painting tools. The artist defines his own existence through the extended relationship between body\, tools and canvas. The cultural symbol in “Reconstruct Universe” takes reference from Lingnan folk traditions of the artist’s hometown Foshan\, as a result of the interaction between individual experience and socio-historical memory. Putting emphasis on the integration of painting and music\, Chen also highlights the consistent feature of ‘live’ and ‘performance’ in his practice — this series was in fact created in the company of passionate rhythm music. As one of the artist’s latest series of works\, “Gravity” starts with the tradition of Chinese landscape painting and recreates images of individuality\, and eventually abandons the dependence on symbols and tends towards abstract yet candid expressions. Whether it is the surreal combination of mountains and rivers\, color blocks resembling the growth of cells or the application of fluorescent materials\, Chen’s works creates a fragile yet balanced ecosystem that contains everything. \n“Shangri-La” as a sub-series of the “Gravity” series was carried out in the Shangri-La region of Yunnan. As a combination of realistic and impressionistic sketching\, the work pursues a focused experiment on lines and spirit in monochromatic colors. Some improvised on the mountains\, and some cultivated in the studio\, the works project the artist’s elastic relationship between external and internal self on different scales of time and space. The creative tools\, manuscripts and video materials showcased in the exhibition play a role as alternative footnotes\, reminding the audience that all the multifarious creations at the end return to the same specific yet complex mind of the artist.  At the end of the day\, the evolution of art forms is closely related to reality — this is the artist’s humble and keen response to his life experience in these changing times.
URL:https://cultureplus.asia/event/chen-yingjie-the-dust-of-a-long-journey/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2022/03/cyj.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220212
DTEND;VALUE=DATE:20220313
DTSTAMP:20260417T111355
CREATED:20220130T054702Z
LAST-MODIFIED:20220130T054702Z
UID:10017558-1644624000-1647129599@cultureplus.asia
SUMMARY:Wu Shuang: The Light of Nature
DESCRIPTION:“There is no colour in the world. Colours are the reflection of light\, the tolerance of our eyes\, and the purification of the mind. We don’t need colours\, only light and faith.”     Wu Shuang\, January 2022 \nWhitestone Gallery H Queen’s is delighted to present “The Light of Nature ”\, a solo exhibition of young Chinese artist Wu Shuang. The exhibition shows vibrant works by the artist made between 2019 and 2021. Wu is an Abstract Expressionist painter renowned for her use of strong contrasting colours and surreal images. The exhibition features predominantly Wu’s works produced during the lockdown. In the artist’s own words: “the pandemic has helped me live a more deliberate and creative life\, art is the answer”. Centered on human beings and inspired by nature\, Wu’s paintings allude to the search for freedom and meaning in life.   \nDuring her early practice\, Wu found the colours used in screen printing excessively flat and monotonous\, and started employing fluorescent colours to enrich the surface and the texture of the medium. She continued to use luminous pigment on canvas in her later practice\, and the audacious colour combinations became emblematic of her work. The artist also demonstrates a strong control of compositional elements\, depicting powerful images that seem contradicting yet harmonious.  \nWu is a constantly evolving artist. From 2019\, her work became more poetic and experimental\, often referring to her internal struggles and thoughts. The concept of anthropocentrism which considers human beings as the most significant entities in the world is a major thematic focus of Wu. For example\, in ‘Words Deluge’ (2020) and ‘Travel Peak’ (2020)\, the artist conveyed human emotions such as sadness\, fragility\, and insignificance; whereas in ‘Tentativeness’ (2021)\, faced with the uncertainty of the world\, humans sought permanence within their inner desires; in ‘Of Your Silent Reverie’ (2020)\, the seemingly reflections of a girl and a tiger allude to the inseparable connection between human\, nature and animals. Wu Shuang’s works are not just timely but also thought-provoking\, representing her adventurous spirit.
URL:https://cultureplus.asia/event/wu-shuang-the-light-of-nature/
LOCATION:Whitestone Gallery\, 7-8/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong\, Central and Western\, Hong Kong
CATEGORIES:Painting
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220113
DTEND;VALUE=DATE:20220209
DTSTAMP:20260417T111355
CREATED:20211228T110434Z
LAST-MODIFIED:20220108T095732Z
UID:10017502-1642032000-1644364799@cultureplus.asia
SUMMARY:Intermixture Vol.3
DESCRIPTION:Whitestone Gallery H Queen’s is delighted to present “Intermixture Vol.3”\,  a sequel to Intermixture and Intermixture Vol.2 in 2017 and 2021 respectively. Featured in the exhibition are artists Katsuyoshi Inokuma\, Ahhi Choi and Masayuki Tsubota. Intermixture Vol. 3 continues to demonstrate the ideas and concepts of the previous Intermixture exhibitions; these four artists are letting materials and textures\, colors and forms work together to create unprecedented expressions\, and blurring the boundaries between paintings and sculptures. \n\nAhhi Choi（Japan\, b. 1983）\nAhhi Choi was born in Hyogo Prefecture Japan in 1983. The curvilinear movement in the work of Choi is both buoyant and ecstatic\, expressing the innate sense of adventure the artist possesses. He was recognized after exhibiting in New York in 2014 and has since exhibited internationally including  France\, Italy\, Korea\, Singapore and Hong Kong. Choi’s work can be perceived as a reflection of his subconscious mind. Upon graduation in Los Angeles\, he travelled through the United States. During his trip\, Choi explored the expansive network of National Parks\, from Death Valley to the Grand Canyon to Yellowstone. It was during this stateside excursion that the artist developed an intimate bond with the grandeur and majesty of nature. In addition to painting\, the artist has extensively engaged in other artistic creations\, including design of shoes\, fabrics\, wine labels\, cell phone  cases\, CD covers\, etc.\n\nMasayuki Tsubota (Japan\, b.1976)\nAfter receiving his B.A. and B.F.A. from the Osaka University of Arts in 2001\, Masayuki Tsubota (1976-) created a series of sculptures with wood and aluminum\, he delicately shaves and polishes the medium with vibrant colors to create a unifying effect. These underlying connotations are what give his sculptures numerous dimensions. The abstract textures and patterns in his work urge the viewers to reflect on themselves\, in order to re-experience seemingly familiar visuals\, “déjà vu” in a different way. Tsubota believes colors always exist around us in a trans-phenomenal way\, they penetrate our dreams\, affecting our consciousness and unconsciousness. In this fast-paced informative era\, we often eliminate the needs for colors; perhaps we left something important without noticing it. \nKatsuyoshi Inokuma (Japan\, b. 1951)\nInokuma continued to pursue his artistic creativity in his hometown after studying at the art colleges. Although he only became an artist after his 40’s\, Inokuma soon won the Aoki Shigeru Memorial Award in 1996 and semi-grand prize at Fukushima Prefectural Art Exhibition in 1998. Creating textures by using coffee powder and sanding down the surface\, he brings the exquisite concurrence of comfort and sharpness into his work. Above all\, Inokuma’s ultramarine blue works\, “Inokuma Blue Series” is highly admired both domestically and internationally and cause strong resonance with its viewers.
URL:https://cultureplus.asia/event/intermixture-vol-3/
LOCATION:Whitestone Gallery Hong Kong\, 80 Queen's Road Central\, Central\, Central and Western\, Hong Kong
CATEGORIES:Painting,Sculpture
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2021/12/intermixture_materials4-04.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211113
DTEND;VALUE=DATE:20220106
DTSTAMP:20260417T111355
CREATED:20211030T074106Z
LAST-MODIFIED:20220107T092351Z
UID:10017608-1636761600-1641427199@cultureplus.asia
SUMMARY:Kazuharu Hanada: Pirka. Northland
DESCRIPTION:Whitestone Gallery H Queen’s is delighted to present  “Kazuharu Hanada: Pirka．Northland”\, a solo exhibition by Japanese abstract artist Kazuharu Hanada (1946-2017). Composed of geometric lines and figures\, the artist’s first solo exhibition in Hong Kong brings not only rich lyricism and clear visual effect\, but also the refreshing scenery of Hokkaido\, the birthplace of Hanada.\n\nIn Kazuharu Hanada’s words\, “Paintings composed with a theme of relations between emotion and recognition\, utilizing geometric lines and shapes.” In 1965 he entered the Oil Painting Department of the Tokyo University of the Arts\, and began his academic activities in Tokyo. As a postgraduate student he pursued art further in a class taught by Ryohei Koiso\, and observing his work from that time it is clear that he was experimenting in various forms of modern art. From pre-war styles such as Fauvism\, Cubism and Surrealism\, to post-war abstract expressionism\, works from “Row of Poplar Trees”(1961-1964) to “Untitled”(1969) have shown the process of approach establishment on abstract scenery painting. \n\nAfter completing his postgraduate studies in 1972 Hanada traveled to Europe\, and upon his return in 1974 moved back to his hometown\, Sapporo. The 1970s is the period of the visual universe establishment and an inner exploration of his personal painting world. The series of work he produced were simpler than before. “Socks I”(1974) and “Apron”(1975) are composed of four squares or rectangles of vivid and beautiful color like a puzzle\, and this became the representative style of his early work.  \n“To Forest No.1 1981 – No.1″(1981) has remarked a great change in Hanada’s style. With its unstable shapes in black and other dark colors\, the images are covered with rough\, devilish brush strokes\, as if they are trying to depict something writhing in the darkness of the night. After the series “To Forest”\, he began the development of his unique landscape painting. The figures of the elements that make up the landscapes are simplified\, yet the unique shapes and colors are full of poetry\, creating a dream world that at the same time communicates the artist’s love for the nature of Hokkaido so effectively. In this period\, he produced many simple yet dynamic paintings\, including wonderful large-scale pieces\, such as “Sea and Hill”(1989) and “Open Fields”(1992). \nFollowing on from these landscapes\, in the early 1990s a series of portraits such as “Scolded”(1991) and “Twenty” (1991) was produced. The models that he chose were people close to him\, such as his daughters. His approach is figurative\, but the forms are abbreviated and the colors vivid\, developing tidy\, icon-like images of the subjects. In addition\, the techniques are not only those of oil painting but also incorporate approaches like charcoal and conté. However\, what shows throughout the series is his love and respect towards the models\, making the works small but excellent pieces that hold a certain sense of presence. \nFrom the late 1990s to the mid 2000s\, Hanada’s work reached its zenith and edged towards completion. The view on “Snow Road” (1992\, 1998\, 2000) is like tracing back to his early painting “Row of Poplar Trees”(1961-1964). Hanada began new work based on squares and rectangles. The colors and sizes of shapes in “Sea and Rocks” (1999) are more varied than in the early pieces\, giving them a brighter surface and reminding viewers once again that Hanada’s work is\, at root\, but fun.  \nHe further developed natural motifs from his existent work and\, extending into a new field\, introduced a world of fantasy\,  full of poetry.  “Mother’s Train”(2005) has shown the natural beauty of the oceans and mountains of his beloved native land\, Hokkaido. The various shapes and colors drawn from undefined elements are full of creativity\, conveying a powerful sense of humor and poetry. There are many pieces that elicit fun and happiness in their viewers.
URL:https://cultureplus.asia/event/kazuharu-hanada-pirka-northland/
LOCATION:Whitestone Gallery Hong Kong\, 80 Queen's Road Central\, Central\, Central and Western\, Hong Kong
CATEGORIES:Painting
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211008
DTEND;VALUE=DATE:20211031
DTSTAMP:20260417T111355
CREATED:20211015T102405Z
LAST-MODIFIED:20211015T102405Z
UID:10017528-1633651200-1635638399@cultureplus.asia
SUMMARY:KOHEI KYOMORI: We Can Always Talk Here
DESCRIPTION:Whitestone Gallery H Queen’s is delighted to present “We can always talk here”\, a solo exhibition by Japanese artist Kohei Kyomori. \nThe exhibition features predominately the “FLOWING” (2021) series\, based on the Japanese concept called ‘Kacho-Fugetsu’ (花鳥風月) ― the artistic pursuit that involves the beauties of nature.  \nThe foundation of Kohei Kyomori’s artistic pursuit is his relentless exploration and reinterpretation of the decorative arts from all over the world. Hitherto\, he has continued to interpret and redefine the history of decorative arts and express the stories in graphic forms. In his first solo show with Whitestone\, Kyomori is presenting not only works and installations from his recent series\, but also participatory works as a new approach. All works are an attempt to introduce new contexts into contemporary art.  \nKohei Kyomori describes his attraction to the decorative arts as: “the intensity of its visual narrative power and high density in the enormous amount of time poured into it by human hands.” The exhibition is titled\, “We can always talk here” and suggests the potential as a visual language and transcendental aspect inherent to each decoration. Within it comes the prospect of overcoming cultural\, linguistic\, generational\, and racial differences endowing the expectation of an equal and fair connection to viewing.  \nThe “aspiration towards traversing and transcendence” appears in Kyomori’s creations in different forms. For example\, the “FLOWING” series in the exhibition is a modern interpretation on the traditional ‘Kacho-Fugetsu’ concept that celebrates the beauty of nature expressed in a dripping\, sensual manner. At the same time\, this creates a non-Western\, Asian timeline formed by the visual narrative in the artist’s words: “Intercepting the best moments in the waves of time that flows not from the past to the future\, but from the future to the past and fixing it in the present.” There\, time does not overshadow us\, but rather comes and goes – an object that we can face and further challenge.  \nOn the other hand\, “R.E.P.” (2021) is a series that is inspired by the origins of the seal\, the work is a study based on the relationship between decoration and human beings. According to Kyomori\, the seal is: “the most effortless symbol used by human beings to express their possessions before the development of writing\, and an act that inscribes the relationship between one’s own to others and the world.” By connecting the role of the viewer\, the work becomes collaborative. Gaudi’s Sagrada Familia is a striking manifestation of the inseparability of ornaments and the body. The artist states: “It is simply magnificent\, and can only be realized by human beings themselves\, and by a large number of human beings who have each poured a great deal of time into it.” For Kyomori\, the ornamental nature is not limited to the dimension of color and composition\, but is derived from the extension given by the human body. When the viewer participates with his or her own seal\, its magical power is put to the test. \nKyomori’s artistic contemplation is not restricted to a specific context. For example\, in the “FLOWING” series\, Kyomori proposes a pluralistic view of the world that affirms the existence of diversity based on Japanese animism. This is illustrated through the references to Noh masks that resemble divine spirits and allude to the struggles between the digital shift and old conventions endowed in the objects of our history. Kyomori’s works offer a unique take on the contemporary decorative culture and reinterpretation on human activity in the current digital age. 
URL:https://cultureplus.asia/event/kohei-kyomori-we-can-always-talk-here/
LOCATION:Whitestone Gallery Hong Kong\, 80 Queen's Road Central\, Central\, Central and Western\, Hong Kong
CATEGORIES:Painting,Sculpture
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