ARTNUTRI GALLERY
Xing-Biao, XUE
RESUME

1944 
Born in Fujian, China
 
1965 
Graduated from the Fine Arts Section. Art Department of Fujian Normal University
 
1979
Graduated from the oils class for Further Studies of Zhejiang Art Institute Member of China Artists Association/ Member of China Artists Association


2013
Awarded the Fujian Province Lifetime Achievement in Art Award

POST SUCCESSIVELY
Director of the Art Department of Fujian Normal University
Professor of the Art Department of Fujian Normal University
Visiting Professor of Nagoya Art University, Japan
National First Class Artist of Fujian Art Research Institute
Vice Chairman of Fujian Committee for Evaluation of Senior Professional Titles of Fine Arts
Executive Vice President of Fujian Art Academy
Member of the Review Committee for the 9th China National Art Exhibition  
 

 

Xing-Biao, XUE,< Drunkenly Merging with the Universe >,117x364cm 

SOLO EXHIBITION
2017 “Imagery” Xue Xing Biao Exhibition , Fu Qing Art Museum, Fujian, China
2016 “State of Mind”Xue Xing Biao Exhibition, Fujian Art Museum, Fujian, China
2015 “Xue Xing Biao Exhibition”, Artnutri Gallery, Miaoli, Taiwan
2014 “ Xing Biao Wuyi Dream”, Wuyi University, Fujian , China
2012 “ Love like a mountain- Xue Xing Biao impressionistic painting”, Fuzhou Painting Academy, Fuzhou, China
2007 “ Xue Xing Biao Solo Exhibition ”, Quanzhou Painting Academy, Fujian, China
2004 “ Xue Xing Biao Solo Exhibition ”, Holyoriental Art Gallery, Beijing, China
2002 “ Xue Xing Biao Solo Exhibition ”, Naffouj Gallery,  Rheinland- Pfalz,  Germany
2000 “ Xue Xing Biao Solo Exhibition ”, Ohio Chinese Art Center, USA
1996 “ Xue Xing Biao Solo Exhibition ”, Taiwan Imagery Painting Art Gallery( Artnutri Gallery), Taichung, Taiwan
1996 “ Xue Xing Biao Solo Exhibition ”, Arts Space Gallery, Nagoya, Japan
1995 “ Xue Xing Biao Solo Exhibition ”,Anli Painting Salon, Nagoya, Japan
1984 “ Go into the thick life in Yunnan”, Fuzhou Art Museum, Fuzhou, China


 

Xing-Biao, XUE,< Life’s Leap >,91x117cm

The essence of Xie He’s “six techniques” is that the “tone should be lively” and the “brush should be used to generate forcefulnesss.”  The requirement refers to poise, and latter refers to the “skeleton.” A scholar of the Wei-Jin period combined these two elements and formulated the requirement for a “distinct, elegant, and slender exterior and interior. This is the source of traditional Chinese painting’s vitality.
To raise my spirits, I transformed “Life” into Zhuo Zhuo’s “Spring Moon and Willows” so that I could adapt scribbling, not seeking realism, but only seeking to please myself.”
 

 
WORKS ON DISPLAY AT EXHIBITION
1964 “Flowers of the Motherland” The 4th China National Art Exhibition, Shanghai Art Museum/The National Art Museum of China (NAMOC), China
1972  “Railway Guards” China National Army Art Exhibition to Celebrate the 45th Anniversary of the Founding of the PLA, China Military Museum, Beijing,China
1979
 “Glory of the Nation” The 5th China National Art Exhibition, Shanghai Art Museum, China
1979  “Town of Banyan”, “Early Spring” The Oil Painting Exhibition of Landscape and Still Life from Six Provinces and One City in East China, Shanghai Art Museum, China
1984 “Golden Autumn on the Borderland” The 6th China National Art Exhibition, The National Art Museum of China (NAMOC), China
1987  “Green Shade” China Formative Arts Exhibition, Toronto Art Gallery, Canada
1988 “Farewell to My Concubine” China Modern Arts Show, Greenwich Art Gallery, New York/ Hawk Painting Salon, New York, USA
1988 “Life” Exhibition of Teachers Paintings from Six Provinces and One City in East China, China
1989 “The Winter Solstice” The 7th China National Art Exhibition, Shanghai Art Museum, China
1991 “Ancient Walled City” The 1st China Annual Show of oil paintings, China History Museum, Beijing/ Hong Kong Conference and Exhibition Center
1994 “ Between the Lines” The 8th China National Art Exhibition, NAMOC, China
1999 “ Wild with Joy” The 9th China National Art Exhibition, Shanghai Art Museum, China
2002 “Autumn” and others Exhibition of Four Chinese Oil Painters, Rheinland-Pfalz, Germany
2002  “Red Sails” and others Rheinland-Pfalz Art Fair, Rheinland-Pfalz , Germany
2003 The 3rd  Chinese Oil Painting Exhibition, Shanghai Art Museum, China
2003  The 2nd  National  Painting Academy Biennale, Guangdong Museum of Art, Guangdong ,China 
2004 The 10th National Exhibition of Oil Paintings, The National Art Museum of China (NAMOC), Beijing, China
2006 “ Infinity County- North and South Oil Painting Guest Exhibition” ,The National Art Museum of China (NAMOC), Beijing, China
2007 “Exploit of Centry - Chinese Painting Exhibition”, National Museum of China, Beijing, China
2008   The 1st China Life Drawing Phoenix Award, The National Art Museum of China  (NAMOC), Beijing, China
2010 “The Oil Painting and Contemporary Society Exhibition”, National Museum of China, Beijing, China
2011 “ Classic and inheritance- 1st  China Oil Painting Bienniale”, Shenzhen Art Museum , Shenzhen /  National Museum of China, Beijing, China
2013 “Xue Xing-Biao, Chang Li Ping, Guo Ning Joint Exhibition”, Fujian Art Museum, Fujian, China 
2016 “Light of white lotus” series, Experimenting China in Peru – APEC “ Humans and Nature” Art Exhibition, Museo nacional de arqueología antropología e historia del perú


 
The Spirit of Abstract Freehand Brushwork
Xue, Xing-Biao’s paintings have become as refined and elegant as the artist’s life. Travelling around and sketching in the open air, his early years primarily focused traditional realistic painting. From the freehand brushes in the1970s to the immersion of darkening figures into his backgrounds in the 1990s, his paintings have transformed from concretization into abstraction, leaving the space of association to the viewers. During Xue’s stay at Nagoya University as a visiting scholar in 1995, he tried to create "abstract within images”, engaging in vigorous brush strokes and graphics play. He has integrated the freestyle expression into the representation of images in abstract art, reaching a semi-abstract freehand spirit of art. Abstract is the intrinsic property and sublimation of concretization. It takes mood and charm for the heavenly frame of art. Xue mentioned that Xie-He placed “vigorous Chi” in the first place in his essay Theory of Six Principles of Painting. “Chi”, expounded as the vitality of the universe in ancient Chinese culture, as well as “Yun”, the metaphor of melody in harmony, have revealed the spirit of painting as a visual art: vivid, harmonious, refreshing and sweet-sounding. In Xue’s impressionistic realm, the artist takes a wider view with great momentum: freehand brushes strive for simplicity and avoid the minor minutia in the pursuit of Chi and Yun. Through the cadence of strokes, he smoothly transforms conception into shapes. With the simplest figures and elaborate complexity, Xue has created a “second nature” above the real realm. The signifying vastness is exactly the oriental artistic embodiment of Chi. The intangible should reveal the nature of existence better than the tangible. Without limitations of time and space, implicitness lives beyond reality.
 

Xing-Biao XUE,< Heart Wave > ,oil painting,91x117cm,1995






Xing-Biao XUE,< Leisurely > ,oil painting,91x117cm,1995

 
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