effort to analyze his works. For example, the color red symbolizes good fortune, black is neutral and related to the earth, white is associated with death and mourning, and blue has many meanings, but perhaps calm exploration fits well in his usage in the work. 2IFRXUVHZHFDQQRWGHSHQGRQWKHVHLQWHUSUHWDWLRQVWR¿OOLQWKH void of meaning for us, only the artist can do this...Or perhaps, his intent is to leave the work ambiguous, and encourage the viewer to explore his or her own meanings as they catch a glimpse into Gao Xiang’s mind.
a stimulus in his work. One of the first artworks we can source in history, created by mankind, actually included the image of a horse. Estimated to be at least 15,000 years old, the Lascaux Cave in southwest France is famous for its Paleolithic cave paintings of ODUJHDQLPDOV$PRQJWKHVH¿UVWDQLPDO¿JXUHGUDZLQJVZH¿QG WKDWHTXLQHVRXWZHLJKWKHRWKHU¿JXUHVZLWKRYHUUHSUHVHQWHG 6RPHRIWKHKRUVH¿JXUHVDUHDFWXDOO\GUDZQXSVLGHGRZQRQWKH cave wall, suspected to be the inspiration of the artist observing a naturally-occurring camera obscura from a hole in the hides of the cave covering. In the introduction to his work, we are told about the importance of the horse in ancient Chinese culture for socialization, travel, and work. These are common threads that link the animal’s purpose globally. Once a wild creature that migrated in packs, the mass domestication, or “breaking” of the horse to make the animal useful to its human counterparts can represent the taming RIKXPDQLQTXLVLWLRQVDVZHDWWHPSWWR¿QGRXUSODFHZLWKLQRXU societies. His installation works are particularly successful in the way they encourage the viewer to interact with this exact concept. Beyond an image on a wall, the installations encourage viewers to walk around the piece and consider how it relates both to them and its environment. Gao does not give us references to his own artistic inspirations, but I see a few possible sources. For example, much like Susan Rothenberg's work, Gao's horses become a repetitive mainstay of texture, shadow, and color. Like Deborah Butterfield's work, their sculptural entities are large and imposing, lording their importance over the human figures without yielding. His three dream-inducing pieces that feature big cats are also of interest. I see a correlation between his piece Feed the Tiger and Henri Rousseau’s The Sleeping Gypsy , I can only wonder if it is an intentional connection or something more derivative. Gao's color palate remains relatively consistent regardless of his chosen medium. Most deal in monochromatic tones, using only blue or red for emphasis. These colors must have significance for their use, but I’m left wondering exactly what that may be. In Chinese culture, we can read into symbolic color theory in an
Patricia Lois Nuss Bambace (United States of America) Curator, Chiang Mai City Arts and Cultural Centre Photographer | Educator | Artist M.F.A. , University of Central Florida February 2017
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