Han Bing and Luka Rayski:Frame

When 29 Mar 2014 - 18 May 2014
Where Fou Gallery
535 Dean Street, Apt 507
New York, NY 11217
United States
Enquiry (917) 602-5808

Opening: Saturday, March 29, 5–9 pm

Fou Gallery is pleased to present Frame, a two-person exhibition of Han Bing and Luka Raysk from March 29 through May 18, 2014. Young Chinese artist Han Bing’s recent oil paintings continue to explore the difference between natural and man-made landscapes, real and artificial space, framed reality and daily life. They are juxtaposed with Polish artist Luka Rayski’s small scale wood panel paintings. Those mixed media paintings are grouped and placed on found stretcher bars, resembling manipulated photography. To create these paintings, Luka designs a simple set of rules and follow them from beginning to end. The opening reception will take place on March 29th (Saturday, 5-9pm) at Fou Gallery.

Frame, as a visual device, is often used in art and literature to define space and create illusions. A flat image within the frame is conceived as a timeless visual presentation, affirming the boundary between the virtual and real worlds. In Oscar Wilde’s renowned novel Picture of Dorian Gray, the man-made portrait substitutes the reality and becomes a reminder of Gray’s act upon his soul, with each sin displayed as a disfigurement on the painting’s surface. Bing and Luka are both interested in the manipulated reality created by mass media. Bing’s recent works are a step away from the narrative elements in her early paintings. Her recent series still features natural and artificial spaces – theaters, stages, buildings and imaginary places. They are based on found images from TV, film, newspaper photograph or other screen-based representations. The illusion generated by these theatric images is a key element of her practice. As she says: “The scenery and narrative in an image is like a thread but opens to millions of other possibilities.” However, in recent paintings, architectural elements are extracted and become more abstract. An image of a building’s exterior is appropriated in VOID 4. The terraced interior could evoke a familiarity of domestic elements but in a functionless way. The obscure and cool hue is interrupted by an irregular shape, creating another space within the domain.

The small works on wood panels by Luka Rayski begin with his fascination of photography. Photography has largely challenged the way people perceive the world since its invention in 19th century. In his work, Luka tries to examine how photography and other mechanical-reproduction based media influenced less technology dependent techniques, such as painting. To make paintings out of “a painter’s hand,” Luka meticulously designs a set of rules that he could repeat and multiply many times, until the resulting images fill the whole surface. For instance, he will cover the entire surface of a painting with identical horizontal brushstrokes, and then wash it down in a sink. By repeating the gesture several times, the final work is a delicate balance between prediction and accident. The mechanical nature of these elements does not only challenge the difference between manpower and machine, but also demonstrates the natural limits of human gesture: The result won’t reveal itself until the very end, and no one can accurately duplicate the effect.

Photo courtesy of the organiser/s

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