À la Lueur du Noir
Try to imagine a painting: it does not need brush, nor color; it does not depend on symbolism anymore, and does not make up scenario. It fabricates the images as they seem to be far on micro spur while close to each other in the full view. It expands like an invisible matrix computer space materializes in visual language. Computing, preinstalling, accurate, sane – a space that programmed by millions of algorithms that attract audience into a labyrinthine vision, impossible to crack with just intuition.
That’s the painting of Pan Xiaorong – a young neo-abstract Chinese artist, who spent six and a half years as the assistant of Ding Yi – pioneer of Chinese abstract painting. This apprenticeship experience was precious and inspiring for Pan Xiaorong, the young artist applies burin instead of brush for constructing a particular visual language: ascetic, austere, and restrained, spreading a minimal logical variation at the inside of an absolute monochrome, leaving only a pure geometry, alignment, and spatial composition.
Ink, burin, carton; dye, dig, peel – it’s in an almost mechanic rhythm that Pan Xiaorong applied to get close to the edge of “painting” and began his aesthetic research about the concept of “paint”: in these couplings of point-lines configured by the rules and knife, a spiritual space incarnates in a methodical and solemn way.
However, under those strictly controlled variations, there are still some unexpected order. His art is lightened up by the strange glow, every fiber resists ink with different ways, every scratch records a session of dig and peel. This is like an infinite creation hiding behind fractal geometry. In this coincidence and spontaneity turn his paintings loose and soft, glowing humane behind the inhumane appearance. None attempt of reproduction Pan’s art is impossible, whether they are expected or unexpected.
If all the contemporary artists are searching for a nature of painting, then Pan Xiaorong found it by bypassing it ingeniously: he invented his own way of painting for throwing himself in it. A gesture of great patience and incredible self-disciplined. With the material aspect and methodological putting at premier plan, in an immersion working method, he enjoyed the appearance, disappear, blink of forms. He recreated the possibility of painting by a discrete and assured method, making his art a meditative experience of moving and dazzling.