IF Jiisfiii 4> 'i> • JiS M ̂ i ifHong Kong Arts Centre Galleries Committee presents

TEN YEARS OF HONG KONG PAINTING

ATI exhibition to mark the 10th Anniversary of the Hong Kong Arts Centre

17 October — 1 November, 1987

Pao Sui Loong Galleries, Hong Kong Arts Centre

Sponsored by Philip Morris Asia Inc.

PREFACE

Ada ChanChairmanArts Centre Galleries Committee

In finance, as in politics, ten years is an extremely longtime. In art, however, ten years is but a brief moment. It isdelightful, therefore, to realize that the Hong Kong ArtsCentre — this shrine to the arts which is set in the midstof a city hectic with financial activities — is now tenyears old. It is even more delightful to realize that in thepast ten years, the Pao Sui Loong Galleries have mountedno less than 754 different exhibitions.

To mark the tenth Anniversary, the Hong Kong ArtsCentre Galleries Committee have much pleasure inpresenting TEN YEARS OF HONG KONG PAINTING'. Aretrospective exhibition covering the past ten years, itfeatures the works of forty-six local artists — those whohave been living and working here, regardless of race andcreed. Each of them is showing an early work and arecent work, which renders the exhibition especiallymeaningful in the sense that there are not only contrastsin style, but also in time. The works of forty-six diverseartistic personalities being under one roof, the confluence,unique to Hong Kong, of cultural influences — Orientaland Occidental — is brought into sharper focus.

The establishment of the Pao Sui Loong Galleries wasmade possible by a generous provision from the Paofamily. Over the years, many more people, organisationsand companies have generously contributed to thephysical maintenance and the artistic liveliness of theGalleries. The Galleries Committee has recently beenformed to foster and co-ordinate these diverse energies— artistic and financial — so that the visual arts maycontinue to flourish at the Hong Kong Arts Centre and inHong Kong with even greater force. We are filled withhope that, with continued support, the next ten years willbe even brighter than the last.

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TEN YEARS OFHONG KONGPAINTING

Michael ChenGalleries DirectorHong Kong Arts Centre

Art and the development of art in a society is a barometerof the state and development of society as a whole. Thishas been true throughout history and is true for HongKong today. The economic and social development hereof the last thirty years has been nothing short ofphenomenal. With this economic and social developmenthave come the work of local poets, writers, painters,photographers, dancers and film-makers who have grownup in Hong Kong and to whom Hong Kong is home.Cultural development has thus gone hand in hand witheconomic and social changes.

Painting is one of the major artistic mediums adopted byHong Kong artists. As with other art forms, the world ofHong Kong painters over the last ten years can tell us agreat deal about the make-up of Hong Kong. Thepluralistic nature of Hong Kong painting closely mirrorsthe diversity of the society at large. The East/Westdialogue which is evident in post-war Hong Kong paintingcan also be found in almost every stratum of thecommunity. The uniqueness of Hong Kong necessarilydictates the uniqueness of Hong Kong painting inparticular.

There really is no one prominent style or school ofpainting in Hong Kong. Whenever there is a strongmovement calling for the formation of a 'Hong KongSchool', there is an equally strong force resisting justsuch a move. And because of the unique historical andgeographical contexts of Hong Kong, painting here hasalways been a curious mixture of the East and the West.In the same way as places such as Singapore or Taiwan,where the indigenous cultures have yet to exert a decisiveinfluence, Hong Kong has always been subjected to theexternal pull of both China and the West. As such, aHong Kong artist might want to identify himelf/herself asa Chinese artist (one who uses brush and ink to paint thetraditional subject matter of landscape, flower and bird), oras a Western painter (one who not only uses oil or acrylic,but possesses a Western outlook in his/her art as well). Inaddition to the 'Chinese School' and 'Western School' ofpainters, there is an increasingly popular hybrid schoolwhich advocates a mixing of the two seemingly oppositestreams of aesthetics. Despite the absence of a definitivemainstream, these affiliations have created currents andundercurrents which have made Hong Kong painting adiversified and lively scene.

Fleeing China in the late 1940s and early 1950s,numerous traditional Chinese painters decided to settle inHong Kong and to pass their skills and knowledge on totheir students. Among the early settlers are Chao Shao-an, Yang Shen-sum —- who are painters of the LingnanSchool— and Fang Zhaoling. They are artists who regardthemselves primarily as Chinese painters. To them, thetraditional values must be retained, and the use of ink andbrush must be mastered before all else. Theirs is atradition handed down through the ages by artists whohave laboriously copied the old masters' work and couldregurgitate the various styles of past dynasties. Veryoften, a painter would have to go through a long period ofapprenticeship before being allowed to establish his orher identifiable look. Although this process of copyingmay seem unnecessary in an age of satellite andtelevision, it, nevertheless, has not deterred China's greatpainters from attempting the quintessential statements.Indeed, Chinese painting does not have to be westernisedin order for it to remain vital and original. And FangZhaoling illustrates that point by keeping an inquisitivemind and by adopting modern day subject matter in herpainting. King Chia-lun, Cheng Ming and Poon Chun-wahbelong to the second generation of painters who continuethe traditional line of Chinese painting in Hong Kong.

With the arrival of Lui Shou-kwan (1919-1975) in HongKong in 1948, an important page in the evolution of localpainting was turned. Lui, with his Chan (Zen) paintingswhich fused an Abstract Expressionist approach with thespirit of Chinese philosophic thinking, was one of thecrucial figures in the history of Hong Kong painting. TheIn-Tao Art Association and the One Art Group wereformed in the sixties under his guidance to carry on thisEast/West fusion. Some group members, Wucius Wong,Irene Chou and Chui Tze-hung, who were his students,were to become active painters in the subsequentdecades. Together with Liu Kuo-sung who originally camefrom Taiwan, they pioneered a new sensibility which hasquickly become the dominant force in Hong Kongpainting. Like Lui Shou-kwan, they use the Chinesemedium of ink, brush and paper (Shui Mo) while mixingelement of design, Surrealism and various westerntechniques in their art. Their preferred subject matter isstill the landscape. Yet the mountains and streams, longthe staple themes of Chinese painting, might be formedby spraying and splashing ink or by crinkling the paperbefore applying colours. Gone are the roaming wise men

in long robes and the lone boat in a stream; they are,instead, replaced by a contemporary vision of theuniverse. Although these painters juggle varyingproportions of Chinese and western ingredients in theirwork, collectively they originated a unique pictorialsystem which is very relevant for Hong Kong. At last, hereis a logical solution to the evolution of Chinese paintingwhich is rooted in the literati tradition of the past but canbe called modern at the same time. Seeing the immensepossibility for experimentation, many younger painterssuch as Kan Tai-keung, Koo Mei, Toto Kung and LeungKui-ting are drawn to this Shui Mo School. Many of theseyoung painters have been taught by Wucius Wong.

The western painting medium of oil or acrylic has aspecial allure for Chinese painters. Not only does itprovide the artists with an alternative to the Chinese inkand paper, it is also a language which is easilyunderstood by art circles in Europe, America and otherparts of the world. For a Chinese painter who is notbogged down by tradition and who wants to be acceptedinto the international art community, this would seem theideal medium to use. Luis Chan, Kwong Yeu-ting and HonChi-fun are some of the early proponents of this westernschool of painting. Luis Chan, at the age of 82, has juststarted on a new series of expressive 'splash' canvaseswhich he calls 'Abstract Illusionistic' paintings. KwongYeu-ting, who obtained a Master's degree in LandscapeArchitecture in the U.S., has produced a body of work onthe theme of Chinese garden design and architecture.And Hon Chi-fun is the Minimalist who has beenfascinated by variations of the circle and their etherealmeanings. The diversity of styles adopted by the threepainters, and even the specific development of LuisChan's art from monotypes of the sixties to aquaticimages and splash paintings of the eighties, tend toreflect the unsettled nature of Hong Kong westernpainting. Other directions that have been explored overthe years include Gaylord Chan's rendering of personalsymbols and primeval patterns, Yank Wong and FrancisWu's large expressive abstractions, Choi Yan-chi andRaymond Ng's Minimalist approach, Josh Hon, WongShun-kit, Rex Chan and Yeung Tung-lung's Neo-Expressionist handling of the human figure, Nancy ChuWoo's studies of the nude, and the Photo-realist detailsof Kong Kai-ming, Lam Yuk-fai and Ngan Chuen-Ii. Manyof these painters received their art education abroad andhave returned to Hong Kong in recent years. Although

there seems to be as many directions as there arepractitioners, yet they fulfill the vital function ofintroducing to the younger generation of Hong Kongpainters the styles and techniques of this westernmedium.

A survey of Hong Kong painting would not be completewithout recording the significant contribution made byexpatriate painters who have chosen to make Hong Kongtheir second home. Over the years, these painters fromEurope, America and Australia have mingled with localpainters and have engaged in teaching and exhibitionactivities. Rosamond Brown, Dorothy Kirkbride, MarthaLesser and Brian Tilbrook are just some of theseoutstanding painters. It is interesting to note that throughtheir extended stay in Hong Kong, quite a few havemanaged to infuse Oriental subject matter and philosophyin their art.

Hong Kong painting has come a long way since the dayswhen Hong Kong was described by many as a 'culturaldesert' and when the term 'professional painter' meantsomeone who sold paintings of sunsets in Tsim ShaTsui's shopping arcades. As Hong Kong society itself hasdeveloped, Hong Kong painters have developed with it.During the past decade, they have refined their art,exhibited in an increasing number of local privategalleries, and sold their paintings to a wider appreciativeaudience both in Hong Kong and abroad.

However, all is not rosy on the horizon of Hong Kongpainting. As a result of the affluence and rapid growth ofHong Kong in the last twenty years, countless newproblems now face Hong Kong painters. High rent,shortage of studio space, limited access to art books andmagazines, and a generally unsympathetic environmenttowards the visual arts are just some of the pressingproblems. Up to now, the Hong Kong Government have notformulated a visual arts policy to encourage and help localartists, especially the young generation who are just at thebeginning of their creative career. This encouragement, soimportant for the continued growth of Hong Kong art, isoften left to chance. Furthermore, art education in schoolsis still inadequate in view of what is really needed for acreative, visually literate Hong Kong society.

The Arts Centre opened just ten years ago in 1977. Inanother ten years, it wil! be 1997. Although ten years is avery short time in creative development terms, the longterm question for the visual arts is whether Hong Kongcan retain its artists. Already several of Hong Kong'sleading painters have emigrated or have made plans to doso. An exodus of talent at this crucial point of thedevelopment of Hong Kong art would be very damaging towhat has been achieved to date. Government policy andencouragement, both specifically and in general over thenext few years, will thus be critical to the continueddevelopment of Hong Kong painting.

The Hong Kong Arts Centre will celebrate her 10thanniversary in October, 1987. This exhibition is presentedto launch the Anniversary Year and to salute the men andwomen who have made important contributions to HongKong painting in the last decade. Altogether, 46 paintersare taking part in this exhibition. Although each painter isrepresented by only two works, it is hoped that a generalimpression of Hong Kong painting will emerge. The twoworks of each artist, one completed around ten years agoand the other more recently, coincide with the time spanof the Hong Kong Arts Centre and should offer a glimpseinto the maturing art of the individual painter. At ten yearsold, the Hong Kong Arts Centre is still a young organisation.We look forward to yet another ten years of co-operationwith Hong Kong painters who have done so much toenrich the cultural life of our community.

MESSAGE FROMTHE SPONSOR

It is a great honour for Philip Morris to sponsor the exhibition1 Ten Years of Hong Kong Painting ' in commemoration ofthe tenth anniversary of the Hong Kong Arts Centre for itsinvaluable contribution to the growth of the arts in HongKong. The past decade has been an expansive period forHong Kong, notably in the arts arena, and throughoutthese years, the Arts Centre has been a focal point formuch of the community's artistic development.

Philip Morris has a long tradition of arts sponsorship, Fornearly thirty years, we have contributed to a wide range ofcultural activities because we believe that in art, as inbusiness, there is always a need for imagination, innovationand individual creativity.

We are therefore proud to support the very talented artistswhose works are represented in this exhibition. Theirpaintings exemplify the great achievements that havebeen madet)y members of our community. By sponsoringthis comprehensive exhibition, we hope to provide anopportunity for Hong Kong citizens to become morefamiliar with their own unique cultural expression.

Dinyar S. DevitrePresidentPhilip Morris Asia Inc.

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ACKNOWLEDGEMENTS The Ten Years of Hons Kons Paintjng' exhibition win/^wi\i^wvvL.L-i^v^i_ivii.i^i w direct|y benefit the Arts Centre's Galleries Fund .TheGalleries Fund was set up with the aim of helping todevelop the work of the Galleries over the last 10 years.The major portion of all sales from this exhibition will bedonated by the artists taking part to the Galleries Fund.The Hong Kong Arts Centre would like to extend heart-felt thanks to all the artists in this exhibition for theirsupport, encouragement and generosity.

The exhibition would not have been possible without anearly commitment from the exhibition sponsor, PhilipMorris Asia Inc. Philip Morris Asia Inc. takes an activeinterest in supporting Hong Kong cultural life through itsgenerous sponsorship programmes and the Hong Kong ArtsCentre would like to extend a warm vote of thanks to them fortheir support of the exhibition and the preview. The HongKong Arts Centre would also like to thank The EastAsiatic Company (Hong Kong) Limited for the champagneand Holiday Inn Harbour View for doing the catering atthe champagne preview.

Illustrated Plates

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SONIA ARCHER Rosamond Brown

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Sonia Archer has had no formal art training apart fromA-level and two extramural courses in Hong Kong,printmaking with Nancy Chu Woo and the use of acrylicwith Rosamond Brown in 1975.

Archer exhibited her life drawings in a shared exhibitionwith Peter Chancellor at the Hong Kong Arts Centre in1978. She has participated in many group exhibitions inHong Kong and her works are in collections in Australia,Britain, Europe and Hong Kong. The past two years havemarked an increasing number of commissions of smallportraits in watercolour and acrylic. She is a full timemember of the Hong Kong Arts Centre management forwhich she has worked since 1975.

S-J's Cat1975Charcoal on paper29 x 40cm

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Midsummer Night, Norway*1986Watercolour on paper12x16cm

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GAYLORD CHAN

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Fish Plate*1976Acrylic on canvas121 x 121cm

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Gaylord Chan was born in Hong Kong in 1925. Hecompleted the Certificate Course in Art and Design at theDepartment of Extra-Mural Studies, University of HongKong in 1970 and became a member of InternationalSociety of Plastic and Audio-Visual Arts in 1972. Hefounded the Visual Arts Society with local artists in 1974and chaired the Society for the first four formative years.

Since 1969, Chan's works have been featured in more thanfifty group exhibitions in Hong Kong and overseas andincluded in each of the 'Contemporary Hong Kong ArtBiennial Exhibition' organised by the Hong Kong Museumof Art. In 1971, he conducted his first one-person show inHong Kong. It was then followed by three more, the mostrecent one being held at the Hong Kong Institute forPromotion of Chinese Culture in September, 1987. In 1983,he was awarded the Urban Council Fine Arts Award. Chanmostly works with acrylic on canvas while sometimesemploys woodblock as a medium.

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Three Objects1987Acrylic on canvas121 x 121cm

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