Ah Xian
Some of Ah Xian's works are part of the permanent collection at the Queensland Art Gallery

 

Click on the images for a larger view

More than human

Ah Xian is a Chinese-born artist who migrated to Australia. He however maintains a close connection with his homeland, particularly its artistic techniques. This exhibition at the Queensland Art Gallery showcases some of his best work.

Perhaps the most immediately striking aspect of the exhibition is the medium in which Ah Xian chooses to work. He creates busts – or in the case of the exhibit’s centrepiece, a whole figure – from porcelain, lacquer or cloisonné. Cloisonné is an enamelling technique using strands of wire to “section off” an area of the work that’s then filled with the coloured enamel.

At the centre of the exhibition is Human human – lotus, cloisonné figure 1 (2000-01). The piece was cast in China, with the cloisonné being applied to create an intricate lotus flower design. The result is a stunning representation of the human form.

But Xian’s work goes beyond mere representation. It’s full of meaning – a statement about the fact that you can never leave your roots completely behind. It’s also a reflection on what it means to be Chinese in the world today. The figure is beautiful, yet oddly disturbing in its own way. His work also carries definite political overtones about China’s attitude to free (especially artistic) speech.

Those themes are also readily found in the smaller busts that ring the central figure. Some of these are fashioned in jade, creating an eerie translucency to the work. Others are done in lacquer, cloisonné or porcelain. One of the more striking works is the carved lacquer piece Human Human – Dragon. Fierce dragons seem to crawl over the figure’s striking red face and body. This is clearly one of the more overtly political statements in the exhibition, but at the same time, one of the most dramatic.

Other pieces features landscapes, flowers or traditional designs in a colourful yet intimate display.

The only real complaint that can be levelled at this exhibition is that it’s perhaps too small. Confined to one (large) gallery within the QAG, the pieces seem a little lost in the space, perhaps because there are only about a dozen or so ringing the central figure.

It’s not an exhibition to be appreciated on a grand scale. The works are all intimate, intricate and delicate. They require attention and viewing from different angles, making this quite a demanding show in its own way. Still, there can be no doubting the beauty of Ah Xian’s work, and for that alone, this is an exhibition worth seeing.

David Edwards