By: Wang Xin
Oct 18, 2013
It appears that there have always been strong brush strokes in Hang Bing’s paintings, on one side she is working on what she is really good at; expressionism, and on the other side, her paintings also brought in the subtle texture of digital prints: precisely outputting the information of realistic models and shapes, as well as the regulations of organization, corners and the occasional errors between pixel blocks. “The digital world interprets as a stage.” Han Bing explains as she was still in Parsons-The New School: The Syntax of Paintings has become interpretation; the images we search for no matter are projections on imagination or realistic encounters, somehow come up with more profound significance. The light of Walter Benjamin’s theories interprets through endless copies until there is no source to trace, which seems more significant.
Compared to the cold colors she liked to use between 2010 and 2011, the peculiar dim lights in interior spaces such as cinemas, theatres and the presentation of band rehearsals, her recent works seem more obscure. The sceneries often appear confusing to us, but totally not unfamiliar. Han Bing has quoted from Gerhard Richter’s talk on sceneries in 1973: Landscape is simply inhuman, and all the rest is simply projection.” The fascination of natural sceneries from nineteenth century Romanticism is not irrational strength, yet the imagination inspired by the present sceneries mixing architectures, and natural debris, urban architectural sceneries thus belongs to social psychology; tranquil and magnificent.