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I have always been exploring Nini’s body language. Its gestures, its posture and lines, its turning back to gaze—they are all elements in my painting. I am always on the lookout for them in my lots of doodles.
After being under the shadow of the pandemic for more than a year, I strongly feel that the Creator is teasing us. I often wonder: Does He have a message for us? Does He want us to reflect on ourselves?
After a whole year of living in dormancy and concentrating on creation, I understand that He wants us to submit to Him. There’s nothing to resist, as you can only submit to the will of God. Be quiet and reflect. Don’t be opportunistic nor take things for granted. Mother nature is now telling us we are nothing special, we are only human.
Nini deep in reflection is precisely my state of mind in the past year or so.
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黃本蕊 Benrei HUANG
我的避風港 My safe haven, 2020Sold -
In my 2013 solo exhibition, I began featuring soft sculptures made of wool felt, because I wanted to see what it would be like to have Nini emerge from the planar surface into a three-dimensional form. Later on, I gradually moved from soft sculptures to making limited-edition hard sculptures. I tried my best to capture the simple, organic lines and softness of Nini in the hard models, but I also hoped that it can somehow encapsulate the essence of traditional sculpture without falling into the pretentious clichés. This was no easy task, but I think I did it this time!
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We are the mischievous yet still protected
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A sudden touch
Quietly, it shows interest looking at a tree branch.
A flower suddenly falls on the tip of its nose, but it is still quiet, without moving an inch.
This is what I think. If you look at something quietly and show interest, it will return the favor reciprocally.
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黃本蕊 Benrei HUANG
花之吻 A sudden touch, 2021烤漆/玻璃纖維
Spray paint on fiberglass
25 5/8 x 10 1/4 x 15 in
65 x 26 x 38 cm
Edition of 100NT$ 380,000 -
Drinking tea is something that is indispensable and natural in my life.
To me, drinking tea is a lifestyle, an attitude, a kind of mood, or perhaps a ritual and philosophy. So I painted these small works depicting tea ceremony in different forms, as an attempt to reflect on the relationship between tea and Nini in different states.
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Nine days of therapeutic tea ceremony
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Inner voice overflow—the presence of shadow
There is often “shadow” in my paintings, and I am often asked why it exists. “Is the shadow you? Your subconscious? Anti-consciousness? A reflection of the twists and turns in your mind? Or what?” I don’t have an answer. Maybe it’s all of the above, or maybe it’s none of the above. But what I can be certain is that although the shadow is not a physical object, it is as important as the character Nini in the composition, just like the relationship between positive space and negative space in painting. In a painterly sense, that is the relationship between shadow and Nini. They are framed together in a painting, depicting a situation in which you can see your own image. You discover your subconscious, anti-consciousness, or the twists and turns in your mind, or whatever. It’s all possible. The closest answer I can give is that, to me, the shadow is an independent entity, faint as it may be. Wherever the shadow appears, it is a relative possibility outside the normal Nini. And since it’s a “possibility”, it can be unreasonable and not be governed by reality. I like this kind of freedom. Yes, drawing shadows represents the freedom of consciousness.
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The wandering couple, dressed in Yohji Yamamoto-esque attires that look mixed-and-patched together, walk through falling cherry blossoms, sprawling green hills, before they walk into the burning maple red and the icy snow white. The scenes are just majestically breathtaking! It seems that even the heavens can't bear it and turn them into immortals who are not tainted with a trace of the mundane world.
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Autumn makes its own spring when all leaves turn into flowers
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The biggest vibe I get from New York is that it is a metropolis emanating great energy in all aspects. Plus, it has four distinct seasons. Man-made urban cities under the influence of natural climate often evoke special moods. As a creator, my works under different moods are inevitably tinted by that nature-induced sentiment.
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A season too late
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Ancestors
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Learn to fly with your dreams
I don’t remember when I started to paint the bunny and flying. These two things seem to be unrelated to each other, yet they have appeared many times in my paintings. Someone must have told me the best dream they have ever had is that they could fly! I desperately want to analyze this flying dream from a psychological perspective, because I have never had such a wonderful dream. There must be some hidden message hinting at being able to fly or not, or being able to dream about flying or never having that dream. But whenever I think of flying, the first hurdle that springs to mind is that I would have to learn how to fly! That is just too much trouble and hard work. Despite this, I have since been painting with “flying lesson” as the theme, as if by doing so, I can prepare myself for having the dream of flying.
To this day, I still haven’t had any dream about me flying, but I am curiously looking forward to it.
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This exhibition marks the longest hiatus of two and a half years since my last one at the end of 2018. It features works created under the dormancy of the pandemic since last year.
I have always enjoyed the experience of seeing pieces of art I painted being framed and gathered in a gallery space like they are attending a party. This time, as I look at these works, they seem to carry the usual sense of humor, but somehow a little different. All in all, they are embodiments of my feelings in the past two years.
Parts of the text were from Benrei HUANG's new book NINI: A Cloud Baby
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Benrei HUANG: Shapes of self-reflection
Past viewing_room