清影

Inna Art Space announces delightfully that we will present a solo exhibition themed Bathed in the sun for Xuanxuan Xie from September 10 to October 20, 2022, during which time nearly 20 oil paintings on canvas created by her over recent years will be showcased. These paintings, full of childishness, are vibrant in color and naive in style. The fantastic narration from the female perspective recounts the artist’s rich experience of life. Bright surface of the paintings delivers a pleasant mood to the audience, and in the meantime, it also reveals her obscure personal experience.

If sunshine permeates everywhere, there will be no hiding place for shadows. Perhaps because the sun was shining then, the shadows were no longer dark. Everything was charming and refreshing.   —Xuanxuan Xie

The exhibition theme — Bathed in the sun — is taken from a painting of the same name by Xuanxuan Xie. The works exhibited this time, full of poetry, are just like the artist’s eulogy for spring: “We welcome flowers, fruits and grape leaves. Flowers are bathing in sunshine, and spring sends off winter.” As Leo Tolstoy wrote in the Resurrection, “Despite scraping away every vestige of vegetation, cutting down the trees, turning away birds and beasts, and filling the air with the smoke of naphtha and coal, still spring was spring, even in the town.”

Xuanxuan Xie has utilized mixed and witty elements in her paintings to depict daily wonders. Her paintings are full of anthropomorphic characters and contradictory elements, creating a weird atmosphere but not lacking childlike innocence. With unique colors and shape language, she seeks to find a kind of “truth that can only be seen by stripping off the sweet wrappers”. Crown frequently appears in her paintings. Sunlight scatters from the crown, endowing chairs, flowers and fruits with new life. In her new work named 100 Little Red Flowers, the flowers hide in the shadows, presenting a metaphor of personalization. Xuanxuan Xie thinks that the scene in this painting means a challenge to the ubiquitous rewarding system in life. Things are not always black or white, and only careful reflection can lead us to the inner truth. She has an enlightened view on the changes in life—even if the sun was shining then and the clouds are gathering now, it is still a good thing.

Inna Art Space announces delightfully that we will present a solo exhibition themed Bathed in the sun for Xuanxuan Xie from September 10 to October 20, 2022, during which time nearly 20 oil paintings on canvas created by her over recent years will be showcased. These paintings, full of childishness, are vibrant in color and naive in style. The fantastic narration from the female perspective recounts the artist’s rich experience of life. Bright surface of the paintings delivers a pleasant mood to the audience, and in the meantime, it also reveals her obscure personal experience.

If sunshine permeates everywhere, there will be no hiding place for shadows. Perhaps because the sun was shining then, the shadows were no longer dark. Everything was charming and refreshing.   —Xuanxuan Xie

The exhibition theme — Bathed in the sun — is taken from a painting of the same name by Xuanxuan Xie. The works exhibited this time, full of poetry, are just like the artist’s eulogy for spring: “We welcome flowers, fruits and grape leaves. Flowers are bathing in sunshine, and spring sends off winter.” As Leo Tolstoy wrote in the Resurrection, “Despite scraping away every vestige of vegetation, cutting down the trees, turning away birds and beasts, and filling the air with the smoke of naphtha and coal, still spring was spring, even in the town.”

Xuanxuan Xie has utilized mixed and witty elements in her paintings to depict daily wonders. Her paintings are full of anthropomorphic characters and contradictory elements, creating a weird atmosphere but not lacking childlike innocence. With unique colors and shape language, she seeks to find a kind of “truth that can only be seen by stripping off the sweet wrappers”. Crown frequently appears in her paintings. Sunlight scatters from the crown, endowing chairs, flowers and fruits with new life. In her new work named 100 Little Red Flowers, the flowers hide in the shadows, presenting a metaphor of personalization. Xuanxuan Xie thinks that the scene in this painting means a challenge to the ubiquitous rewarding system in life. Things are not always black or white, and only careful reflection can lead us to the inner truth. She has an enlightened view on the changes in life—even if the sun was shining then and the clouds are gathering now, it is still a good thing.

The exhibition will present several paintings with chairs as the objects. This series continues to expand in Xuanxuan Xie’s recent works. By drawing an analogy between the human and chairs, the artist endows each chair with a unique mood. She describes diversified feelings and states of chairs with extraordinary sensibility. She believes that each chair has a king of its own. Sitting and leaning are fused into a chair in her heart, as well as an imaginary body. The body and the chair are closely connected and entangled with each other.

The Sad Chair, The[1]  Chairs Are Hugging, The Chairs Are Kissing, The Chair Is on Vacation, Husband-Wife Chairs, Musical Chairs…All these are the names of works in Xuanxuan Xie’s chair series. In the get the chair, a childhood game, chairs sit outward in a circle. In the round table, a carnival of chairs with nobody present, chairs gather inward. In the Throne 1, the earliest chair-related work of XIE, there is a children’s dining chair with a smiling face; she replaces the throne with this character, signifying both a challenge to power and a joke about parent-child relationship.

Xuanxuan Xie has added words to some of her recent works. The relationship between images and words makes the paintings interesting and absurd. These words explain the images and are integrated into the images as well. Naming has attracted more attention to some extent. Names start a game between words and objects, and also raise a question: In this era when images spread unchecked, people do not care about the definite meaning of images at all. Will the arrogation of words against paintings restrict or arouse imagination?