Plow a new field with lacquer aroma

Once I knew master Wang is going to hold a solo exhibition in Shanghai Art Museum, and together a collective will be published, as his student, I was quite excited and imediately contacted othet students of him whom resident currently abroad, in Japan, Korea, France and Germany, they were all excited like me once they heard this wonderful news.Some of them have seen master in person and his works, some have read master’s books and collective. They all consider master as “a passionate, creative and brilliant Chinese artist”.

1985 I came to Fuzhou Crafts Art Collage and become master Wang’s student. Since the very first time I stepped into master’s studio which locates in the red-brick building in campus till now, over 20 years have past.While all those artworks in that room that day still engraved in my memory. Figure, animal, scenery, and stills were the variety subjects of his works.By then I felt the style of master’s works were simple and straightforward, which as well were the common features of Eastern folk arts, while they were quite literati, even influenced by Western Fauvism and Expressionist, is an harmony combination of Eastern and Western culture.What’s more attracts me is on the base of absorbing Fuzhou traditional lacquer culture, master’s works were so different from the usual lacquer standards of “Plane, Polished and Shiny”, which hold their unique way of expression. Since then, I adore master so, believe he shall be the most influencial representative of Chinese lacquer arts in respect of avant-garde and contemporary.There are my impression of master’s early 80’s works.

Since 1990, the subjects of master’s works emphasized more on national and historical Eastern culture, and the Yangshao Culture series is the best representative.There works discovered a brand new field which broke the limits of plain expression, but a form inbetween three dimension and plain, while most of them were frameless, e.g. Lacquer calligraphy series and etc.In terms of techniques of lacquer crafts, master did a great breakthrough.The works in that period broke the traditional procedure of thick lacquer, think lacquer, cover bright and expose dark-red paint, further combined the traditional technique with personal expression as heap, engrave, spread, paste, cover, ground, carried out a sense of intimacy and innovative pleasure.Meanwhile, master held and participated a lot artistic activities like exhibitions and lectures in Fuzhou, Shanghai, Beijing domestically, and Japan, Korea, France,Germany etc. abroad.

After 2000, master’s variety formals of expression jump out the frame of plain and three dimension. In the Grand Utensil series, the matrix applied not only traditional materials like linen or ramie covered wooden panel, but wood, ceramics,metal etc. The combination of contemproary lacquer culture together with the regional folk culture in master’s works can dialogue with a new subject and research, especially when he borrows some folk utensils which connect with marriage,birth and death.

Master holds a unique understanding of the essence of lacquer culture,after mature through the past decades, he forms a self characteristic, complete, comtemporary and avant-garde system.Master has created countless impressive works, and his works speak for him and carry the particular charisma of a Eastern artist, which can be appreciated by all the spectators.

Chen qiurong
July 2011 in Tokyo
Doctor of lacquer art major in Tokyo University of the Arts