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CANAL CHEONG-JAGERROOS / MALERI I KINESISK ANDA By Marica Gripenberg HBL HUFVUDSTADSBLADET newspaper / Helsinki / Finland February 2010
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Wynwood’s newly arrived gallery presents an exhibition of international acclaim, Chinese artist Canal Cheong-Jagerroos on Friday, November 11th from 6pm- 9pm. Canal grew up in Macau, China, in a family steeped in traditional Chinese art. Her current painting series Noah’s Ark and her latest work Eternal Love will be featured in this upcoming exhibit with Tranter-Sinni Gallery located in the world-renowned Museo Vault Building in the heart of the Wynwood Arts District. The exhibition opens November 11th and runs through November 29th, 2016. In 1992, Canal began working in Chinese freehand style brush-strokes on her pattern paintings, inspired by the works of Chinese ancient abstract great master Bada Shenren’s (1626—1705) and with the influence of her mentor Laozi (530 BC), a contemporary of Confucius during the 5th century BCE. All of this influenced Canal’s focus shift to Chinese ancient symbols combined with modern daily elements to extract a dreamlike world. Along the creative path, she has tried numerous creative approaches, both fleetingly and for longer periods, in her exploration of the nature of the material and immaterial realm. She is often confronted and challenged by positive and negative elements, their resolutions being ultimately manifested in the interplay of novel harmonious expressions. In the process of this exploration, the idea of utopianism started to emerge as she was overlapping layers and layers of her paintings with Xuan paper on the canvas to depict different dimensions overlapping one another. She was fascinated by the different layers of Xuan paper and how the paper texture can create dots and lines and harmonize all elements. She has found that persistence and dedication are the basic elements in art. She has also learned that it is essential to be true to oneself, to keep the heart open, and to never give in. ABOUT CANAL CHEONG-JAGERROOS Canal Cheong-Jagerroos (b. 1968) is a Chinese visual artist, born in Macau, China, who grew up in an artistic family. In the past 25 years, Canal has lived and worked in 7 countries from Asia to Europe and Africa, before settling with her family in Finland. Canal has discovered that walking the line between the east and west, facing different cultures, can be both constructive and destructive, but always inspirational. She has won international recognition and acclaim for her unique works of fusing ancient Chinese motifs and contemporary elements. Canal’s working techniques involve using multiple layers of Xuan rice paper, acrylic, ink, and traditional Chinese pigments, which are incorporated together using mixed medium to derive a sense of depth on canvas. Canal has enjoyed considerable success over the last 20 years, with over 50 worldwide solo and selected exhibitions to her credit. Her artworks have been represented in numerous prestigious galleries in Switzerland, France, Italy, Sweden, Finland, Macau, Hong Kong, Africa and USA including the 55th Venice Biennale, the Museum of America Miami, Eduard Vilde Museum, Miami Asia Art Fair, London AA Art Fair, Art Palm Beach, Art Boca Raton and Scope Basel. Life is like a canvas. By blending ancient Chinese motifs and modern elements, Canal Cheong- Jagerroos integrates the past with the present through symbolic creations that depict the peace and harmony of a utopian world. Exhibition runs November 11th – November 29th, 2016 Gallery hours: M-F 10 am-5 pm, Saturday by appointment Tranter-Sinni Gallery 350 NW 29th Street, Miami, FL 33127 Ph: 3058497999
北京 南皋路129号—2017年3月30日(周四)下午四点一刻,我们迎来了2017年第一位驻留艺术家、出生于澳门,旅居芬兰的Canal Cheong Jagerroos (张彤茹)在北京的第一个个展。打破常规的开幕时间(通常为周六下午),仿佛将人们的时空切换到了纽约切尔西某个周四的下午。人们前来祝贺、观展、 气氛温暖、亲切。展厅一层的随喜咖啡馆,为我们倾情献上了新鲜出炉的葡式蛋挞,并获得了澳门的Canal的亲自好评认证。 除了艺术家驻留期间完成的三张以“星星”、“太阳“ ”月亮”为主题的绘画作品外,她带来了颇为令人期待与惊讶的现成品装置——一张铺着白色床单、并且围绕四周铺满绘画原稿的睡床。她将“母本”创作与生活空间,从三层“垂直”重现在二层展厅,用最为敏感,且最直接的方式,呈现了一位艺术家的生存状态。在颠倒黑白的热血创作中,挥舞满床单及边缘的绘画素材—纸张黏贴(Papier collé)的元素,体现了她同时驾驭三幅创作时高速运转的思路与行动,以及她贯彻于始终的创作理念:建构/完形——解构/破坏——再和解。 在Canal这里,如果我们看到床这个物件所体会到的“似曾相识感 (Deja vu)”,多是来源于对翠西·艾敏的《My Bed》以及约翰列侬这对夫妻的话,那么就基本上完成了“遐想”的使命——床作为一种对过往的忏悔仪式以及作为反战和对权力诉求的“温床”。因此在Canal这里,创作本身的材料(随意踩踏、有意撕破的原稿)与素材展开的形式运动(挑战了床作为睡眠、爱欲的基本卫生条件),便同时具有了忏悔仪式(否定自我、破坏创作)与反叛不公(世俗女性符号化)的双重资格。 跨越艺术家的生存状况,自16世纪拉维尼亚.丰塔纳所画的俗世中婴儿的床开始(也许是最早的这类主题了),床便是人类文明长河最与我们身体形状接近的、拟人化的物体,它是一个承载了出生、生产、爱欲、病痛、甚至死亡的领地。“永远未完成”是艺术家对于自己作品的论调,而 “永未完成”体现了对完整、完美这种假想的蔑视、以及对自身/作品”污点“的接纳。同时,将参照系坐标于整个人类甚至全宇宙,我们对未来的期许正是永无止息、永不可止息的推进的。 by baoxi