Fabrik Gallery is delighted to present “Intimate Embraces” an exhibition that showcases the works of Pang Yongjie, a leading exponent of China’s “Post Contemporary” abstract art movement.
 
“It was early spring. They bathed her in the Flower Pure Pool,
Which warmed and smoothed the creamy-tinted crystal of her skin…
The cloud of her hair, petal of her cheek, gold ripples of her crown when she moved,
were sheltered on spring evenings by warm hibiscus curtains…”
 
The poem, The Song of Unending Sorrow, by Bai Juyi (772 - 846 AD) exalts the beauty of Yang Guifei, the favourite consort of Emperor Xuanzong of the Tang dynasty. Yang Guifei, one of the Four Great Beauties of ancient China, was renowned not only for her pearlescent white skin, but also for her full voluptuous figure ­– a trend, influenced by increased economic and political stability, that typified mid-Tang dynasty norms of beauty.
 
Pang Yongjie, one of the leading artists of the Chinese "post-contemporary” abstract art movement, draws on the aesthetic of mid-eighth century Tang dynasty ideals of beauty that celebrate the full-figured female physique. His work depicts the female figure, its beauty expressed in the artist’s signature style of abstract, fluid forms. Pang’s corpulent women seem gentle, light and effortless, a feast of vision in flowing robes and ruby lips, yet they reflect a quiet, deep spirituality – an inner perception and deeper understanding of the self. The viewer is drawn not only to their physical beauty, but to their intimate embrace, their quiet conversation.
                                                                                                       
Pang incorporates influences from decorative folk art combined with traditional Chinese compositional technique and a visual study of colour used in modern western art into his paintings. He uses simple lines and forms to construct the complex relationship between space and subject – weighing the subject against the space on the canvas while integrating that space into an essential part of the composition. Pang’s figures interact pervasively with their surroundings yet maintain a distinct sense of intimacy.
 
The artist favours a limited colour palette, deferring shape and form to be defined by simple black lines and thick layers of paint skilfully applied with a palette knife – imparting a three-dimensionality to the work. Pang works on the foundation of several pieces at one time but then completes them individually, painting 20 to 30 pieces a year.
 
Born in 1968 in Shandong, China, Pang Yongjie studied oil painting and Chinese ink and watercolour at the Central Academy of Fine Arts and Shandong Normal University. His works have been widely exhibited across China, in several Asian countries, and in the USA, the Netherlands, Germany, Belgium and France. Pang’s works are found in several private and public collections in Asia and Europe including: The Zibo Museum (China), the Museum Würth (Germany) and the Radisson Blu Hotel Group. There is a strong secondary market for the artist’s works.