70" by 48", oil on canvas
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静远 chunchunyuanyuan@yahoo.com
以成年之身， 在童年相爱
Seattle * Montreal * Beijing
静远 chunchunyuanyuan@yahoo.com
Solo Exhibitions
2009
Art Gallery of Southwestern Manitoba, Brandon, Manitoba
A1C Visual Gallery, St. John's, NFLD
2008
ARTsPLACE, Annapolis Royal, NS
Arnica Artist run center, Kamloops, BC
Centre Culturel de Verdun, Montreal, QC
Laurier Museum, Victoriaville, QC
2007
Centre Culturel de Drummondville, Drummondville, QC
2006
Galerie SAS / SAS Gallery, Montréal, QC
Galerie 101, Ottawa, ON
Galerie Sans Nom, Moncton, NB
Group Exhibitions (selected)
2009
"Wind from the East", Modern Fuel, Kingston, ON
"Memory and Space", A space, Toronto, ON
Education
2006 ~ 2008 Masters of Fine Arts, School of the Art Institute of Chicago; Chicago, Illlinois, USA
2003 ~ 2005 Bachelor of Fine Arts (with the distinction), Concordia University; Montreal, QC, Canada
1997 ~ 2001 The Second Foreign Language University; Beijing, China
2009
Art Gallery of Southwestern Manitoba, Brandon, Manitoba
A1C Visual Gallery, St. John's, NFLD
2008
ARTsPLACE, Annapolis Royal, NS
Arnica Artist run center, Kamloops, BC
Centre Culturel de Verdun, Montreal, QC
Laurier Museum, Victoriaville, QC
2007
Centre Culturel de Drummondville, Drummondville, QC
2006
Galerie SAS / SAS Gallery, Montréal, QC
Galerie 101, Ottawa, ON
Galerie Sans Nom, Moncton, NB
Group Exhibitions (selected)
2009
"Wind from the East", Modern Fuel, Kingston, ON
"Memory and Space", A space, Toronto, ON
Education
2006 ~ 2008 Masters of Fine Arts, School of the Art Institute of Chicago; Chicago, Illlinois, USA
2003 ~ 2005 Bachelor of Fine Arts (with the distinction), Concordia University; Montreal, QC, Canada
1997 ~ 2001 The Second Foreign Language University; Beijing, China
BIO Jing Yuan Huang
As an immigrant from china, after having completed her BFA at Concordia University, Montreal, Jing initiated a series of mixed-media paintings, first shown in 2006, entitled "Anachronism". Her next body of work, "Transmigrating Inadequacy", is comprised of site-specific murals created from xerox-printed enlargements of digital scans of photograms of original drawings. First exhibited in Chicago, then Beijing, it continues to be presented in artist-run centers, currently concluding in 2009 after which it will have shown in 7 provinces across Canada. In 2008, Jing received her MFA from the School of the Art Institute of Chicago.
A number of times during Jing's upbringing she was up-rooted, moved and "re-moved" from one region to another. This life experience leads her to appreciate the remarkable human act of removing. Despite the various media she has explored, including collage of rice paper, silkscreen on fabric, oil on canvas and photogram installations, her concern has remained with the conceptual and emotional meaning in removed/mediated marks, and how that negotiates with viewers regarding their pre-conceptions of image and objects as final product and process. The media, and the processes she chooses to work with, well serve her subject matter, that being subjective identity in Diaspora, and how one can understand memory of a place, or a state as a shifting creature, with a fairly specific "history", and a gender. Recently, she has focused on "liminal conditions" as a broader term to consider this flux in contemporary living, including liminality of beings, of place and in state of consciousness. She is aware of how western readings and Asian readings of her works differ and yet both are somehow valid.
A number of times during Jing's upbringing she was up-rooted, moved and "re-moved" from one region to another. This life experience leads her to appreciate the remarkable human act of removing. Despite the various media she has explored, including collage of rice paper, silkscreen on fabric, oil on canvas and photogram installations, her concern has remained with the conceptual and emotional meaning in removed/mediated marks, and how that negotiates with viewers regarding their pre-conceptions of image and objects as final product and process. The media, and the processes she chooses to work with, well serve her subject matter, that being subjective identity in Diaspora, and how one can understand memory of a place, or a state as a shifting creature, with a fairly specific "history", and a gender. Recently, she has focused on "liminal conditions" as a broader term to consider this flux in contemporary living, including liminality of beings, of place and in state of consciousness. She is aware of how western readings and Asian readings of her works differ and yet both are somehow valid.
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