C h i n – L u n g H u a n g
After my solo exhibition, Glamour of Color, Rhythm of Ink, in 2000, I have devoted myself to the representation of oriental ideas in my art. I have applied the aesthetics of traditional Chinese ink painting to my works, emphasising the performance of the brush and ink, the variation of lines and the aesthetic tones created out of the interaction between black and white. My works not only describe the objective world in a realistic sense but also express the complex world of my inner feelings. I have even used Chinese calligraphy to deconstruct the traditional way of viewing and shaping an object to entertain the idea of presence and absence and to represent oriental culture in a new fashion.
Chin-Lung Huang demonstrated an early talent for art, which was recognised by his uncle, who suggested to Huang’s father that he purchase a paintbrush for his son. Subsequently, Huang received from his father the gift of a goat bristle paintbrush of superior quality, which he assiduously applied in his practice of watercolour painting. Forty years hence, that paintbrush remains on Chin-Lung’s desk as a source of joy and inspiration. Fulfilling his father’s expectations, and his own aspirations, Huang won his first major art prize while a second-year student at Dong Gang High School.
In 1985, he enrolled at the National Taiwan Normal University and, after earning his Fine Arts Degree, pursued post-graduate studies in aesthetics and art theory. A Professor in the Department of Fine Arts, National Taiwan Normal University since 1994, Huang is currently Dean of the College of Arts, National Taiwan Normal University. He was Visiting Scholar at Pennsylvania State University, United States, 2009-2010; the international judge of the 2012 American Watercolor Society Exhibition; curator the 2011 Taiwan International Watercolor Exhibition in the United States and co-curator, with AWI President, David van Nunen, of Tradition and Transformation: Taiwan-Australia Watercolour Exhibition, shown at Taichung Municipal Office, Taichung City, Taiwan, and at Mosman Art Gallery, Sydney, 2012-2013. To date, he has published seventeen books and albums of his paintings, as well as producing a set of watercolour DVDs.
From 1992 to 2011, he held 14 solo exhibitions, including Drifting Mind, Love for Hometown, 1997; A Dialogue between the Transparent and the Opaque, 1998; Constructive Images of Fishing, 1999; Flowing Color of the Invisible Ink, 2002; Sentiments from an Oriental, 2006; Summit Images of Taiwan, 2008; Eastern Wind, 2009 and Constructing the New Oriental Painting, 2011.
In a recent article, ‘Deconstruction of the Post-Modern, Construction of the New-Orient,’ Huang reflects upon the contrast between the Western techniques of light and shadow and the Chinese calligraphic performance of black and white, identifying possible correspondences between the two. He asserts that this endeavour has succinctly outlined the direction of his art: to apply the Chinese calligraphic effect of ‘painting or not painting’ onto the watercolour paper and to create a new Oriental painting with his unique personal style.
Professor Chin-Lung Huang was made an Honorary Member of the Australian Watercolour Institute in 2011 for his services to watercolour internationally. He is President of the Chinese Asia-Pacific Watercolor Association and President of the Taiwan International Watercolor Society.