This blog was created as a venue for printmakers in Malaysia to come together and share ideas, information and facilities.
We also would like to create awareness, spread the love for printmaking!

Tuesday, 19 March 2013

Chinese printmaker..Jiang Miao - Woodcuts

I came across this series of prints from Ode to Art, Singapore

It's a fresh look at the age-old - Woodcut technique!

This is what they have to say
Born in Jilin in 1981, Jiang Miao obtained a Bachelor's Degree in Fine Art from the prestigious Central Academy of Fine Arts in Beijing in 2005. She went on to major in woodblock printmaking and received a Master's Degree in Fine Art in 2009 from the same institution. Having attracted a considerable amount of attention from the artistic community in Beijing even before she graduated, Jiang held her highly successful and critically acclaimed first solo show at the Triumph Art Space in 2009. Her signature black and white prints have garnered attention for their uncanny depiction of the relationship between self and other. 

The woodblock is arguably the most ancient and time-honoured form of expression in East Asian printmaking. Distinctive for its sophisticated designs and ubiquitous application of flat colour, the woodblock has served as a great source of inspiration to many Western artists such as Whistler and Gauguin. 

Within China itself, the woodblock print movement initiated by the famous author Lu Xun gained popularity in the 1930s for its sociopolitical content. 
姜淼 女孩系列之9, GIRL SERIES NO. 9
90 X 90 CM, PAPER

Ode to Art is pleased to present the work of contemporary Chinese artist Jiang Miao. Jiang has introduced a fresh modern twist to this culturally important art form through her ethereal prints, which combine the abstract with the realistic.

女孩系列之46, GIRL SERIES NO. 9
90 X 90 CM, PAPER
Enjoy and be inspired!

One more -- I particularly like this

Review (extract from Ode to Art, Singapore) : In The Spaces Between Time, Jiang displays her penchant for exploring the intersection between the figurative and the literal through the depiction of a human body somewhat concealed by diaphanous lines. The steadiness and fine quality of the white lines are testament to Jiang's impeccable craftsmanship. 

Using the visual metaphor of a single inchoate body suspended in the midst of numerous threads that symbolise the linear passage of time, Jiang communicates the idea that our existence is transient and somewhat obscured by the rapid changes that take place around us. 

Jiang's elegant approach to the human physique and the gentle application of shadow gives the print a sense of lightness that is not commonly found in other works of the same medium.

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