Preview

PAN Hsin-Hua Solo Show: Tread from the Hinterland

2023.February.11 — March.12

PAN Hsin-Hua
Mountains Beyond Mountains
2019
ink and colors on paper
214 x 122 cm
57,400 USD

PAN Hsin-Hua
Dragon in the sky
2022
ink and colors on paper
152 x 77 cm
26,700 USD

PAN Hsin-Hua
Pleasant Hinterland
2022
ink and colors on paper
80 x 73 cm
🔴13,400 USD

PAN Hsin-Hua
Autumn outing
2023
ink and colors on paper
80 x 73 cm
13,400 USD

PAN Hsin-Hua
Rebar Flowers-Smallflower Beggarticks
2021
ink and colors on paper
150 x 46 cm
16,000 USD

PAN Hsin-Hua
Looking into the distance by the stream
2021
ink and colors on paper
200 x 77 cm
33,400 USD

PAN Hsin-Hua
Scenery II
2019
ink and colors on paper
185 x 72 cm
28,400 USD

PAN Hsin-Hua
Just like the center of the water
2022
ink and colors on paper
112 x 177 cm
46,000 USD

PAN Hsin-Hua
Pay a Visit
2022
ink and colors on paper
87 x 150 cm
30,000 USD

PAN Hsin-Hua
Spring outing
2023
ink and colors on paper
51 x 170 cm
🔴20,000 USD

PAN Hsin-Hua
Practicing
2022
ink and colors on paper
51 x 117 cm
13,400 USD

Tread from the Hinterland

2023.February.11 — March.12

Text｜Daniel CHOU

Real or ethereal, one might wonder, in front of the mottled canvas—beggarticks’ blossoms springing out from Taihu rocks and rebars; butterflies roaming teemingly beside a tortoise-fish; a partially nude child seated formally within concrete side slopes… At Hiro Hiro Art Space, Pan Hsin Hua Solo Exhibition—Tread from the Hinterland—transcends time and transverses reality and phantasy, inviting the viewer’s mind to toy with the images and paintings to conjure one after one mystifying, numinous, and intriguing wonderlands.

Tread from the Hinterland is a creative practice of the artist’s foray into the forest wilderness. PAN Hsin-Hua’s birthplace and hometown—Taimali, in Taitung—cultivated his predilection for fishing, river-trekking, and his periodic revisits to the secluded mountain there to seek inspiration from the nature and surroundings, still so after his thirty-year endeavor into art. The paintings at this exhibition are no exceptions: vine-like rebar entangled in concrete blocks, claw-shaped tree roots intertwining building wreckages, running rivers hustling through derelict factories, and rusty vessel compartments stranded ashore as boats beached on land, et cetera. These seemingly surreal scenes under his brush are all “reconstructed realities” based on his own observation. The further into the hinterland, the braver one needs to tread alone. Specialized in ink-and-wash painting in undergraduate study, yet untrammeled by the Chinese literati style, which accentuates expressive brushstrokes and lofty imagery, PAN Hsin-Hua embraced meticulous painting, allowing a broader range of real-life subjects. Before painting, he first altered the texture of papers by selectively applying alum and dyeing colors; he then deployed a boneless technique in lieu of the outline for coloring. Moreover, drawing on the layout of earlier paintings and ancient maps, he develops a two-dimensional style—devoid of light-and-shadow and field depth, filled with multiple color gamuts, and metamorphosing the shape and nature of its subjects—landscapes, outlandish flowers, exotic monsters, juveniles, buildings, et cetera—each of which was juxtaposed. A phantasy anachronistically and yet harmonious is born, ravishing and entrancing, as if to invite all of us to venture into this mystery.

About PAN Hsin-hua

PAN Hsin-hua was born in 1966 in Taimali, Taitung, Taiwan. He graduated with B.A from the Department of Fine Arts at National Taipei University of the Arts.

His featured solo exhibitions include “Vanished Landscape” (Taipei Fine Arts Museum, Taipei, 1999), “Pan Hsin-hua solo Exhibition” (Michael Goedhuis, New York, 2009). His featured group exhibitions include “The New Aspect – 2009 Exhibition of Contemporary Cross–Strait Ink Paintings” (National Taiwan Museum of Fine Arts, Taichung, 2009), “Landscape to Mindscape of Floating World – Contemporary Art from Taiwan” ( National Taiwan Museum of Fine Arts, Taichung, Taiwan / Mitsuo Aida Museum, Tokyo, 2010), “Ink: The Art of China” (Saatchi Gallery, London, 2012), “Check-in: Traveling with the Artist” (Kaohsiung Museum of Fine Art, Kaohsiung, 2013), “Ink Remix: Contemporary art from mainland China, Taiwan and Hong Kong” (Canberra Museum and Gallery Canberra / University of New South Wales Sydney / Bendigo Art Gallery Bendigo / Museum of Brisbane, 2015), “Crisscrossing East and West: The Remarking of Ink Art in Contemporary East Asia”(MOCA Yinchuan, China, 2017), “Memories Interwoven and Overlapped post – Martial Law Era Ink Painting in Taiwan” (National Taiwan Museum of Fine Arts, Taichung, 2017), “Subzoology: 2020 Taiwan Biennial” ( National Taiwan Museum of Fine Arts, Taichung, 2020), “Era of principle and no principle interwoven: Calligraphy as a Visual Form” (Hengshan Calligraphy Art Center, Taoyuan, 2023).

His artworks are collected in Museum of Fine Arts, Boston( USA), Kuandu Museum of Fine Arts (Taipei), Taipei Fine Arts Museum (Taipei), Kaohsiung Museum of Fine Arts (Kaohsiung), National Taiwan Museum of Fine Arts (Taichung).