Hanny’s Voorwerp
Du Jing Ze

Oil on canvas

Du Jing Ze

Oil on canvas

Embrace the tiger
Duan Jian Wei

Oil on canvas

View from the window
Wang He

Ink and color on silk

Teen Holding a Phone
Xia Yu

Tempera on wood panel

Saw Fire on Bones
Zhang Ji

Oil and acrylic on canvas

The First Double Headed Siren
Zhang Ji

Oil and acrylic on canvas

Zhi Wei

Acrylic on Jacquard fabric and button, tulle, buttons, and thread

Zhi Wei

Acrylic on Jacquard fabric and button, tulle,
buttons, and thread

Ji Xin

Oil on canva & Artist made frame

Red Land
Pu Ying Wei

Oil on canvas, acrylic, paper collage, screen prints, stamps, transparent water colors, mineral pigments, oil
sticks, pastels, markers, coffee, spray paint, paint pen

ART BASEL Hong Kong香港巴塞尔艺术展蜂巢当代艺术中心  展位 1D07
杜京泽 | Du Jingze段建伟 | Duan Jianwei季鑫 | Ji Xin蒲英玮 | Pu Yingwei王赫 | Wang He夏禹 | Xia Yu张季 | Zhang Ji志韦 | Zhi Wei



Ji Xin Polyphony 2021 Oil on canvas & Artist made frame 163.5×133.5cm

In the concept of his new work, Ji Xin(b.1988) attempts to distil a metaphysical reference through the setting of figures and situations, a state of reversion and coexistence between human and god. Polyphony incorporates Ji Xin’s research into the aesthetic tonality of classical architecture and sculpture. The elements in the painting, such as the sofa and the screen, do not appear in a natural state of reality, but the main structure is transformed into the style of a Greek temple. The resting figures are subservient to this sense of architecture and create a circulation and interchange of breath with the symbolic black and white cats. The whole work is dense in a light greenish tone with shades of grey, which, together with the wooden frame specially designed by the artist for this work, creates a musical iteration.


Duan Jianwei Embrace the Tiger 2022 Oil on canvas 100×80cm

Embrace the Tiger is Duan Jianwei(b.1961)’s latest work, created in the Year of the Tiger 2022. Duan finds a poetic seam between tradition and modernity, presenting a harmonious and quiet atmosphere. Although the scene is a close up, it glows with a distant mood. The girl’s eyes fall on a distant place outside the painting, with a kind of compassion that grows from the land, creating a contradictory tension with the festive spirit of the New Year. This contradiction is dissolved through the surreal imagery of the tiger cub in the girl’s arms into a dense nostalgia, which at this point is an ambiguous portrayal and pursuit of the self and the outside world.


Xia Yu Teen Holding a Phone 2022 Tempera on wood panel 120×90cm
Based on the most frequent scenario of modern people playing with their mobile phones, Teenager Holding Mobile Phone is a reference to the dependence and immersion of urban life on digital technology and social systems. The ‘holding’ in the title alludes to the mobile phone, the institution of modern life that the young man cannot put down, which in turn represents the  hostage of electronic devices to human life in the information age. This work continues Xia Yu’s (b.1981) meticulous observation of life scenes and lays out the contradictions of modernity in a clever way 

Wang He View from the Window——Landscape with Snow 2022 Ink and color on silk 73×33cm,44×33cm

“View from the Window” is a series of diptych paintings initiated by Wang He (b.1983)in 2018. The series is often a dual perspective series, with one window showing a distant view taken directly from the antique painting, and the other going deeper into the hinterland, with a viewpoint that is decidedly different from the original, with the dwelling in the painting looking out of the window at another facet of the painting’s world. The left panel in View from the Window – Landscape with Snow is taken from Sun Junze’s Landscape with Snow, Yuan Dynasty, while the right panel highlights the focal perspective, contrasting with the scattered perspective on the left. Wang He uses the Western-style shower room setting and the water flowing down from the shower to correspond with the ancient Chinese landscape, creating a harmonious contrast between the East and the West.


 Du Jingze Hanny’s Voorwerp 2022 Oil on canvas 150×150 cm

The most distinctive feature of Du’s work (b.1995)is the strong stylistic and painterly approach to portraying images with a digital deformation logic. In his latest works, Du emphasises the embedding of multiple viewing dimensions and perspectives in the form of a single figure, as if practising the logic of digital drawing in realistic painting, like the repeated cutting and materiality of masks and layers in Photoshop software. The traditional viewing habits of realistic painting based on the naked eye are progressively broken, while the visual and tactile impulses of viewing in physical space are embraced in internet-based viewing. It is like having a two-way compound eye, dispatching a different viewing experience in multi-dimensions

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