3+3 Space
In the Tao Te Ching by ancient Chinese ideologist, Laotzu, in the Chunqiu Period of China, he proposed that the number one derives from Tao, two derives from one, three derives from two and everything on earth derives from the number three, which is considered to be the root of everything on earth and it represents luck, complicity and accomplishment.
3+3 Space is a kind of language, and it is a space for the art philosophy to present itself in the vision field. It has the same root as our other gallery Sanban Studio, which was founded in 1996 and it specializes in the transformation of artworks, academic communication, technical development and copy and sales of artworks.
3+3 Space was set up in July, 2005, by the female artist Man kaihui. It is located in the Dashanzi (798) Art South Zone. It was rebuilt from an old warehouse in the Art Zone with an area of 180 m., the exhibition line of over 40m. 3+3 Space has become a beautiful addition to the 798 Art Zone with its favorable art atmosphere and unique framework designing. The gallery focuses on the exhibition of China’s contemporary and modern art as well as that of some foreign artists. We pay attention to the originality and technicality of the artworks. Many kinds of activities and various forms of exhibitions are periodically held so that there will be a platform for the excellent China’s contemporary artists and society to communicate. Its purpose is not only to present, but also to discover, explore and develop every kind of creation endowed with life and soul. .3+3 Space has cooperated with many excellent artists successfully, including Deng Jinajin, zhao dewei and Yang tao.
Li Xianting, a famous art reviewer in China said in The Inextricable Knot — Deng Jianjin’s Works and Others. Deng Jianjin painted all his images with knotty strokes. Thanks to the sense of connection between a knotty look and a morose mood, the painter has been able to express his inner desolation through knotty strokes. This style was commonly seen in traditional Chinese scholarly paintings as a result of the early aesthetical development in calligraphy, which is well recorded in ancient documents. Take the works of Ni Zan, for example; there were his sparse strokes and his feeling of loneliness. In Shi Lu’s paintings, there were his knotty strokes and the plum flowers he painted in his old age. Color is naturally another element too, Deng Jianjin has often used strong colors, very crude, fierce, parched colors. Generally speaking, he tends to use those taboo parched colors, lacking in sleekness and transparency. For example, he has used parched red, green, yellow and so on that can make the viewer feel sick. But for exactly the same reason, these colors precisely express the kind of indescribable, oppressed and anxious desires. The parchedness of the colors he uses and his anxiety has a certain connection too. This feeling about existence has long been kept inside the painter and it has formed something of an unsolvable knot. It has to be conveyed through a certain movement of the characters, symbolic backgrounds, strokes and colors.
Zhao Dewei’s realistically splashing style of painting is obviously different from others and is unique. The special technique of splashing, and the fluid materials he applied, have never been used by any predecessor before, and Zhao has established his own language style representing his unique spirit as well as enriched people’s visual experience, feelings and imagination.
Zhao’s exploration of painting styles began with the experiment of the abstract paintings and the study of stuff, so in his works we can still find the basic element of paintings such as "dot, line and plane," "black, white and gray." Obviously, this style of painting results from the techniques of splashing ink and watercolor in Chinese traditional paintings and Western abstraction, especially the influence of Jackson Pollock. But the abstract elements are used to express idiographic images and try to combine these two organically, so that people can notice not only the surface of the idiographic image but also the abstract essence, which is quite different from the existing detail image expressing style. So this can be considered to be a regression or the division of the realistically traditional idiographic images. Meanwhile, this embodies the real feelings of and attitudes towards the real world, and it is not only a ideal of the society.
About his creating experience, Yang tao said: "the individualized evolvement of the conception of heroes and heroism in different times is the only game I have relished for over 30 years. Perhaps many adults have the same state of mind as me, so I insist on my individualized recreations after many ends."
"My heroes should be fashionable, amiable, simulative and eternal. Naturally, I begin to emphasize the doll attribute of the hero and its sense of times, and even more, I hope my works can record the ways of giving in the process of success and gain of the people who grew with tale-bearing, cartoons and simulative games. Media presents the faddy idols of various times, which are solemn and stirring in different forms and degrees in time. The ideals of people of the 1970s are diversified, and I hope myself can be recorded, so I perform as the hero myself, and after ‘The End’ I change the original finality to create my hero with the imagination and desire of my own. Clearing up the ideas of serious heroism, we can find the sacrifice turns out to be more religious, more like a game, more fashionable and mundane. I want to use this easy cartoon way to pacify everyone who reserves the ideals in his or her childhood in order to give them more imagination of success after they have performed themselves simulative."
3+3 Space is still in the initial stages, and she would like to learn from and cooperate with the art institutions and galleries abroad in order to promote the communication as well as push ahead the sound development of the art fair.
A space will not be of inanity, no matter if it is real or a dummy.
