Past 

Flourishing Monologue

Date /2012/1/7 ~ 2012/2/19
Reception /2012/01/07(六) 3:00-5:00 pm
Artist /Wu Hao

The World of Wu Hao—The Snapshot of Gorgeousness

 

Written by Tao Wen-Yueh

 

Painting and shooting must be created from the angle of eyes. The famous English aesthetic critic John Berger proposed two different creation perspectives; he believed that shooting is the quotation of the appearance of objects, and painting incorporate more human elements, providing the interpretation that is more close to the appearance of objects. When pressing the shutter bottom, sensitive camera lens capture the instant image of objects. Even without the support of precision mechanical lens, painters use images to mentally interact and discuss with viewer, enriching the content of paintings. The artist Wu Hao creates the dialogue with views using his magnificent paintings.

 

The existence and content of “spiritual space” is a critical element for assessing whether a modern painting features art reality—Lee Chun-Shan.

 

As a student of the pioneer of Chinese modern painting Lee Chun-Shan, Wu Hao is inspired and influenced by the thinking of modern paintings. In the late 1950s, Wu Hao, Ouyang Wen-Yuan, Ho Kan, Hsiao Chin, Hsia Yan, Xiao Ming-Xian, Chen Dao-Ming, and Li Yuan-Chia funded the Ton Fan Art Group, and they were called “the Eight Bandits.” The Ton Fan Art Group and the May Association of the Art devoted to the revolution and innovative development of Chinese art, prospering the art field of Taiwan.

 

Influenced by the pioneering teaching spirit of Lee Chun-Shan, the prints and paintings of Wu Hao stuck out his unique style, emphasizing oriental spirits and colors. In addition, his experiences also affect his art creation. In 1950, he was acquainted with Lee Chun-Shan when he learned drawing and took a part-time job in the art class owned by Huang Jung-Tsan and Liu Shi. Three months after the art class was dismissed, Wu Hao officially asked Lee Chun-Shan to teach him drawing and painting. Since then, he progressed significantly on the thinking and techniques of art. After Lee Chun-Shan closed the studio and moved to central Taiwan, Wu Hao was deployed to the document room of the Air Force General Headquarter, R.O.C. The military acquired another house for data storage, and the original document room was the bomb shelter. After he cleaned and arranged the shelter, it became an ideal space for creation, drawing the members of the Ton Fan Art Group and other artist gathering in the shelter for creating and discussing art. The eight years in the bomb shelter was the golden period for Wu Hao’s art career. The coincidences were connected unintentionally.

 

Famous Germany philosopher Nietzsche stated that you can prove your existence by showing your life, which can also describe the artwork of Wu Hao. If we regard the pioneering Fauve Matisse release the strong visual power of colors, Wu Hao is the conductor of colors, freely using different colors in his artwork.

 

Wu Hao focuses on the importance of lines, which is inpried by the oriental technique of ink monochrome outlining method. He incorporated the western and eastern painting techniques to outline the shape of objects in his painting. Without these black lines, the structure of paintings can easily collapse. In fact, at the time in Lee Chun-Shan’s studio when everyone used charcoal to outline drawings, Wu Hao boldly used ink to create his painting, which won high praises from Lee.

 

Because Wu Hao was born in Nanjing, many creation elements of his artwork are derived from his memories on his home. Wu Hao was raised in a family of painters. His grandfather was a painter, and his great grandfather is a famous ink painting artist in the Qing Dynasty. The families of Wu Hao like to plant flowers in the yard. And they used those flowers for creation. What impressed Wu Hao most is the various trees, flowers, and plants in the large yard, including Chinese flowering crab-apples, peony, hyper flowers, pomegranate flowers, roses, and plum flowers.

 

The Chinese folk totems and the images of blessing in Wu Hao’s artwork are inspired by the traditional embroidery techniques of his mother. In his childhood, villagers ride on donkeys carrying woods for selling. Sometimes villages left the donkeys in the yard, and he and his friends played with the donkeys. The donkeys were mild, never getting angry when the children played with them. The memories of childhood derived him creating the artwork of “Horses with Decorations” and “Playing on the Horseback.” However, the short donkeys in his memories turned into strong and tall horses in the paintings, increasing wildness and different shapes.

 

If we look at the colorful painting of Wu Hao, we might think he has a romatic life. However, he had been through Chinese civil war. When the war was urgent, his cousin was a staff sergeant of air force, so he followed other relatives to move to Taiwan when he was about 16 years old. Because life at the time was difficult, he joined in the army. Fortunately, he won the first place in the annual Chinese competition, and was promoted to as a second Lieutenant after six years joining in the army. At that time, his talent in art was unveiled.

 

After been through these life experiences, he chose the most wonderful memories in childhood to create his artwork. He used sophisticated techniques to outline the complicated flowers and objects. The structure of paintings is full of the atmosphere of festivals. The creation of painting artist is not limited by his age. In contrast, his paintings reveal his innocence attitude toward the world. When we watch his paintings, we can be released from the world, allowing us to cherish the dignity and joy of life. His paintings give us the feeling of honest.