Melding Chinese lacquer with European abstraction

"In 2003, Su Xiaobai was advised by Gerhard Richter to abandon oils and concentrate on his explorations of lacquer, according to Stephen Little, curator of Asian art at the Los Angeles County Museum of Art (Lacma). Su took that advice, and now only works in lacquer, sometimes using immense quantities of the tree sap to produce contemplative works that form a bridge between Chinese artistic traditions and European abstraction."

"Su's preferred format is square, and his works are formed of layers upon layers of lacquer, sometimes scored or abraded, and then recovered with veils of more lacquer. One room is devoted to a forest of suspended squares, temple tiles lacquered in deep maroon; another displays works on the floor, apparently floating above a "sea" made of mirrored Murano glass."

"A series of small monochrome works in blacks and greys subtly evoke classical Chinese ink paintings, while others show colour seemingly etching the lacquered surfaces. As an artist rooted both in Chinese and Western techniques-Su divides his time between studios in Shanghai and Düsseldorf -he melds both traditions, bringing a Chinese aesthetic to Western abstraction."

"Alchemical Universe at the Palazzo Soranzo Van Axel in Venice features 35 works by Su, from his early lacquer experiments to recent paintings created especially for Venice. One of the collateral events of the Biennale and curated by Little, the exhibition is designed by the architect Kulapat Yantrasast and fills the historic rooms of the 15th century Cannaregio palazzo. The exhibition produced in collaboration with Lacma."

In 2003, Su Xiaobai received advice to stop working in oils and focus on lacquer. He now works exclusively in lacquer, using large quantities of tree sap to create contemplative works that bridge Chinese artistic traditions and European abstraction. An exhibition in Venice presents 35 works spanning early lacquer experiments and recent works made for the city. The works often use layered lacquer, sometimes scored or abraded, then covered again with additional lacquer veils. Some pieces suspend square forms like a forest, while others appear to float above mirrored glass. Monochrome works evoke Chinese ink painting, and other works suggest color being etched into lacquered surfaces. Su maintains studios in Shanghai and Düsseldorf, and a foundation supports preservation and promotion, including a Shanghai curatorial residency.

Read at The Art Newspaper - International art news and events