GETTING RID OF TRADITIONAL BOUNDARIES
Among Chinese contemporary artists, Wang is perhaps one of the pioneer artists who first thought deeply about the relationship between sculpture and contemporary art. Apparently, his art does not fit the traditional understanding audiences have for sculpture - it is a result of his experience of making both traditional and contemporary sculptures.
At the age of 16, Wang became a student of special craftsmanship with a focus on sculpting. It was the first time that Wang was exposed to sculpting and he demonstrated exceptional talent in class - he became the favorite student of Professor Zhang Da Sheng, Wang’s sculpting mentor. Wang was even promoted to be the representative of his class. Since then, Wang fell in love with sculpting. However, at the time, the teaching materials and techniques used in school were very rigid: the materials lacked diversity and were used repeatedly; the teaching even restricted sculpting procedure by requiring shelves to be built prior to making sculptures.
Later, Wang was successfully admitted to the Sculpting Department of China Central Academy of Fine Arts where he started to systematically study Realism Sculpting techniques from Europe and the former Soviet Union. After the Sculpting Department adopted the art studio program, Wang chose to practice in the “Contemporary National Art Studio” led by Professor Si Tu Jie who at the time just returned to China following his study in Canada. It was right in that studio where Wang started to experience the kind of freedom that he never felt before he started to learn comprehensively the sculpting history of both the West and the East, and since then he has been engaged in researching and conducting comparisons between contemporary sculpting and traditional Chinese sculpting.
In 1983, Wang volunteered to work at the college’s research center of the Sculpting Department. At the research center, he devoted himself to making sculptures, installations, and performing arts; he had in-depth study of the contemporary and post contemporary art of the West, through gradual practices, he slowly got rid of the boundaries set by the traditional Chinese sculpting.
In 1993, Wang created a series of super realism human body sculptures called Moments, the series depicted the postures and actions of a group of people when they were arrested. Wang placed the sculptures outdoor in a wasteland thereby creating a scene of distortion and absurdity. Since then, Wang’s personal creation style that combines sculpture, action, and conceptuality started to take shape.
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Collective of “Forms in Flux”《中山装躯壳》Shell of Mao Suit《隐形》Forms in Flux