Wu Shaoxiang 吴少湘 (b. 1957)

A pioneer in the modern abstract sculpture movement in China, Wu Shaoxiang is known for spearheading the incorporation of Western abstract forms into his oeuvre. Wu Shaoxiang was born in Jiangxi in 1957. Following the Cultural Revolution, he studied sculpture at the Jingdezhen Ceramics Institute and later moved to Beijing where he became actively involved in the '85 Movement. There he was awarded the first Beijing Art and Design Scholarship and completed a postgraduate degree at the Central Academy of Arts and Design. His earlier works exhibited elements of Western sculptural styles, due in part to his admiration for the geometrical forms favored by Brancusi and Henry Moore. The round and sensuous shapes lent Shaoxiang's forms a more sexualized language, setting him apart from his more conservative counterparts in China. 
 In 1989 Wu Shaoxiang immigrated to Austria, where he continued to blend East and West in his works while attempting to convey more social messages by examining consumerism and the detrimental effects of globalization. Since the 1990's Wu has relied mainly on the use of forms and symbols to convey his message. It is his experimentation with banknotes and coins that represents his artistic breakthrough into mainstream recognition. He used coins to reconstruct Eastern and Western monumental sculpture, such as Venus and the Buddha, and banknotes to make up the bodies of Giacometti-like human figures. Both our public monuments and the currency we exchange in a capital system are accredited value by the consumer (be it the "viewer" or the "buyer"), and are thus bestowed with a conflicting sense of simple aesthetic pleasure versus concrete buying-power. It is this talent to capture conflict and artistic irony within the sculptural medium that has earned Wu Xiaoxiang recognition and acclaim on the international art stage. He has held numerous exhibitions in China, Taiwan, Indonesia, Austria, Germany, Switzerland, Sweden and Hong Kong.
中国现代抽象雕塑运动的先驱,成为把西方抽象形式融入自己创作的倡导者之一。出生于一九五七年江西,文革结束后,于景德镇陶瓷学院研习雕塑,其后移居北京,并活跃参与「八五新潮」艺术运动,又获授予首个北京工艺美术奖学金,完成中央工艺美术学院雕塑系硕士。他的早期作品受西方雕塑风格的影响,尤其锺情于获布兰诺西和亨利摩尔青睐的几何形状,吴氏向这两位雕塑大师的圆形和充满美感的造形借镜,令他的作品产生一种性别化的独特语言,在同辈艺术家中脱颖而出。
一九八九年移居奥地利,其作品一直是中西合一,并尝试通过检视消费主义和全球一体化的不利影响,表达出强烈的社会信息。自一九九O年代他完美地把形式和意念呈现于雕塑之中,纸币和钱币的系列令在国际艺坛上备受认同和获高度讚赏。他曾运用钱币创作巨型雕塑,把东方和西方重新组合一起,例如维纳斯和佛像,还有运用纸币创作的仿如「贾科梅蒂式」的人物作品。作为公众大型雕塑作品的同时,又是在资本社会中获消费者(观赏者或买家)认可的流通资币,因而产生一种简约美学所带来的愉悦与实际购买能力的衝突感。这种从衝突而引发的艺术幽默感,通过雕塑表达出来,令吴少湘赢得国际艺术界的认同和讚赏。他曾在世界各地举行展览,包括中国、台湾、印尼、奥地利、德国、瑞士、瑞典和香港。
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