The Silk Road Art Gallery presents a two person exhibition featuring Canadian artist Keiran Brennan Hinton and Chinese artist Hu Fan 胡帆. Open Enclosure is a collection of artwork that offers comparable perspectives on confined spaces and what it means to inhabit them. Keiran’s psychologically infused paintings of interiors and Hu Fan’s gritty woodcuts of bound forms both brood over the concept of a contained body and mind. The exhibition will run from Saturday, September 26, 2015 to Thursday, November 12, 2015.
Originally from Toronto, Keiran moved stateside to complete his BFA in Painting from Pratt Institute, and is currently completing his MFA in Painting at the Yale School of Art. He is the recipient of the prestigious Gloucester Landscape Painting Prize and has exhibited internationally. The suite of work included in this exhibition are paintings and constructions that question the assumed stability of home. Reconsidering the power and comfort that architecture is supposed to furnish, Keiran depicts interior spaces purposefully built on shaky ground and are to be cautiously navigated. His compositions capture the DIY foibles of landlords and real estate agents attempting to fill their empty residence with tenants seeking security, but they are offered vulnerability instead.
He states, “These paintings are an investigation into the ways that humans construct and fictionalize stability. I’ve been thinking about how the physical qualities of a home can have psychological implications on their inhabitants, and how the walls of that home become internalized. The architecture of the house is a structure that I was born into and existed before I did. It’s a system of power that determines how I physically move through the world. I’m interested in reconsidering these interstitial moments of a home in order to understand how they impact our bodies and behaviors. “
Hu Fan 胡帆
Hu Fan is a graduate of the Xi’an Academy of Fine Arts and now teaches in the Design department at his alma mater. He has received many national distinctions for his work and has exhibited in the US, Norway, and China. Both series of woodcuts included in this exhibition are expressions of overcoming the control of a resistant force. Whether it be the physical confinement of the body or an overwhelming psychological restriction. He uses the graphic language of printmaking to communicate emotional responses and memories recollected from his daily experiences. The woodcuts are charged—energized by an interchanging black and white palette, dense textures, raw marks, and areas intentionally left incomplete.
His Animal Series portrays long necked, thinly feathered chickens—battle worn from attempting to escape from their cages. The Chinese believe that a chicken in a basket signifies good luck, especially if the bird is alive and healthy. Hu Fan’s images are a sardonic spin on that traditional notion. A similar tension is detected in his Torso Series, where each form is expanding beyond its boundaries and is seeking a way to release the pressure. Doing so would mean escaping the skin they are in.