Around 2017, the late artist Matthew Wong entered the world of art with bright landscapes such as snow-covered blue mountains, frozen lakes, and a hypnotic sky made up of cobblestone brushes. His melancholy and mosaic-like art was praised as the successor to Vincent van Gogh, with interesting elements of Fauvism and Gustav Klimt. Wong was self-taught and people responded to his emotional seriousness. In 2019, Wong committed suicide at the age of 35, as his form of feat was still developing.
He left about 1,000 paintings and ink paintings, most of which are now in fierce competition by collectors. In the years following his death, art institutions have sought to investigate his visual effects. In 2019, New York-based gallery Karma held his first solo exhibition in Wong the previous year and his posthumous solo exhibition. Last year, Cheim & Read in New York also exhibited Wong’s invisible ink paintings. The Art Gallery of Ontario is currently exhibiting about 40 paintings from Wong’s “Blue Series”.
The next show dedicated to Wong will be the most comprehensive to date. October 16th, “Matthew Wong: The Realm of Appearance” Opened at the Dallas Museum of Art, it will be the first American museum to be a retrospective exhibition of artists. More than 60 works will be exhibited, following the arc of his six-year career.
The exhibition also features some special conservation studies of Wong’s paintings. West, It was acquired by DMA in 2017. (DMA was the only American museum that acquired paintings by Wong during his lifetime.) Wong was a prolific painter, frequently reused, and new images on top of his previous images. I ran it.
The show’s curator, Vivien Leigh, organized the show in two parts. The first part is about his practice from 2013 to 2016, living in Hong Kong and working in a studio in China. The second half focuses on migration to Canada, a short but illustrious period.
The show is also an expedition to Wong, both a painter and a person. Young Chinese Canadian, son, poet, greedy scholar. He is a person with depression and nerve divergence. Lee said his biographies are often overshadowed by his tragic death and market stars.
“It was a great trip to learn about him because it’s the same recycled biography that’s circulated,” Lee said in an interview. “Everyone wrote about you after you died, but he had his own strong voice. He had strong opinions and thoughts, he was a great thinker.”
Lee worked closely with Wong’s mother, Monita, and his fortune to assemble the material. In particular, it included his early foray into photography, Wong once said in an interview, “I first remember what I did from my creative will.” He later turned to ink drawing and painting, inspired by online discussions between artists.
The title of the show is named after one of Wong’s most striking paintings. Area of appearanceThe fiery forest scene is softened by the cool blue horizon. Like many of his paintings, this work influences pointillism, the saturated colors of Edouard Vuillard, and the comparison with Yayoi Kusama’s dazzling patterns.
“Won was fully aware of his influence,” Lee said. “He had a memory of photography and always went to the library to study the master. He was a polymath.”
But the painting soon apparently remains his own.
“He always tried to see himself in the world, but kept the canvas open so that others could enter,” Lee said. “I think it’s fascinating. Its openness, its honesty. Everyone loves these paintings, but when they learn about the journey to create them, they will ask new questions.”