A Turn to Universal Significance from Female Issues [Pei Gang, Preface of Cui Xiuwen's Solo Exhibition "Existential Emptiness" in Taipei, 2010]


Cui Xiuwen found a theme from Buddhism for this exhibition-----Existential Emptiness, as a summary of this series to impact reality in emptiness, as well as a comprehensive expression of the state of art creation. She spent four long years on this series, as I learned from the interview. The language of this Existential Emptiness series is the language of wash painting, witnessing a big change from females in “Angel”, “A Pregnant Little Woman”, etc. to the universe, landscape and a great stretch of blank area in picture structure, and a tendency from concrete to abstract in its expression of spirituality. At the same time, the language of wash painting in pictures hints the tie of traditional culture blood.

In her latest series Existential Emptiness, Cui Xiuwen finished the process of sublimation, physiological to psychological again to spiritual world. She put it that she derived inspiration from a recent trip to Japan. During the trip, she came upon dolls used in artistic works, which were seemingly very common. In her view, dolls brought out the duality of body and soul. And the monochrome is given priority to, and the color and organization can be traced back to the influence of traditional Chinese landscape paintings. The new work has such a background as the snow-crested mountain painted by Zhu Da (Ba Da Shan Ren). The figures hard to tell who is who and photos creates an air of weird tranquility. The bleak snow scene tinges the big mountain with sentiment. Cui Xiuwen uses elements in traditional Chinese landscape paintings such as relatively abstract composition, pale tints, long painted scrolls, cut-down figures and so on to transcend a scene peculiar to contemporary space-time scene. Therefore, the focus of this work shifts from female issues to more universal significance.