Edward Wang

Poetic & Romantic Suzhou Garden & bird and rock portrayed in conceptual style

2017

Soar over the Mountain 轻羽千山 Garden doors and windows appear in almost all Wang’s Suzhou garden paintings, but what are presented in the doors and windows are often unreal images from...

Lei Lei 雷磊 1982 China Lei Lei’s sculptures appeal the artist‘s strong personality. He creates a beauty of silence with a pure sculpture language. Buddha figures in caves inspired ...

Fragile Preservation Collection - Tai Chung Nan Tuen Wan He Temple Living in the changeable information world, historical conventions are gradually disappeared. Chen Hsiu Wen highlights unforgettable memory of old time and presents them in still-life style paintings. From her subjective view, family background and living experiences, she illustrates a historical building which is kept inside a glass bottle, as the western traditional folk-art “Impossible bottle...

Tony lived with his grandmother when he was a child. He has seen many Peranakan tableware at her house. Although the artist is not the descendent of Peranakan, he is deeply influenced by multicultural environment in his growth background. Peranakan is not just one symbol of diverse cultures in Malaysia, but is more about an emotional connection between grandmother and him. This is a painting of a Kamcheng sitting on a batik. The edges of the painting has gold plates finishing. Kamcheng refers to the elaborately-decorated, traditional Peranakan storage vase and also means friendship, the theme for this year's Peranakan Festival. The Peranakans or Peranakan Chinese are a sub-ethnic group defined by their genealogical descent from the first waves of Chinese settlers in the Malay Peninsula and Indonesian Archipelago. In Malaysia, the Peranakan Chinese commonly refer to themselves as Baba-Nonya. The term Baba 峇峇 is an honorific for Straits Chinese...

"Exploration of Love" reveals the artist’s concept of bittersweet life. Happiness and depression leave marks in our life, just like those creases in batiks. All creases are gathered ...

Childhood memories #3 儿时的记忆#3 Li Geng Min’s paintings present us a fantasy world on canvas. In Chinese culture, gold fishes and pandas highlight symbols of happiness. Gold fishes r...

'Darklight' from Stephanie Peek, who makes her home in California, is beautifully rendered with a sense of depth, intellect, timelessness, and mystery. A dark and elegant floral wonder, reflecting the anxiety of abundance. Peek has floated tulips, roses and other flowers from 17th century still life paintings through the dark smoky atmosphere of her paintings of night...

Moonlite, 2021, Daniel Blagg, Oil on canvas, 38 x 58" By meticulously depicting forgotten road signs and roadside debris, Daniel Blagg invites his viewers to re-consider objects th...

Chinese Restaurant, 2009, Daniel Blagg, Oil on canvas, 80 x 60" By meticulously depicting forgotten road signs and roadside debris, Daniel Blagg invites...

Playland, 2018, Daniel Blagg, Oil on panel, 26 x 50" By meticulously depicting forgotten road signs and roadside debris, Daniel Blagg invites his viewer...

Paper, 2020, Daniel Blagg, Oil on canvas, 38 x 58" By meticulously depicting forgotten road signs and roadside debris, Daniel Blagg invites his viewers to re-consider objects that ...

This vibrant oil painting is brought to you by the incredible hand of Dan Blagg. His works are filled with themes of nostalgia, a rustic lifestyle, and Americana. Add a pop of color to any space by collecting a Daniel Blagg. This may be a conversation piece, but when the conversation runs dry, you can look deep into Dan's work and feel at peace with the silence. This work is titled, "Stars" by Daniel Blagg. 2021. Oil paint on canvas. 44 x 55." A well-known figure of the contemporary Fort Worth art scene, Daniel Blagg has worked in the DFW area for over four decades. Blagg creates compositions that are both large-scale and intimate, familiar and unfamiliar, through his realistic style and chosen subject matter. Inspired by the surroundings of his studio warehouse on the outskirts of Fort Worth, his paintings of deteriorating road signs, empty streets, and vacant buildings examine urban decay and the byproducts of American capitalism. Blagg is interested in portraying what society discards; what once was useful is now abandoned and left to rot with no thought of recycling or re-use. According to Blagg, this wastefulness is particularly evident in American culture, where advertising is driven by the constant and even desperate desire to make a profit, without regard for the ramifications of this model of economic enterprise. By meticulously depicting forgotten road signs and roadside debris, Blagg invites his viewers to re-consider objects that are often ignored or forgotten. He masterfully crafts his paintings to create moody, unsettling compositions that feel desolate and neglected through his detailed depictions. Quick brushstrokes or soft washes of paint form fields of grass, distant mountains, and stretches of roads, while sharp shadows and the lack of figures heighten the feeling of loneliness and seclusion in these landscapes. Blagg’s representations evoke the work of Edward Hopper through a similar use of light and dark contrasts, as well as an emphasis on the urban subject matter. However, unlike Hopper, Blagg’s explorations ominously foretell the effects of the passage of time. These signs and objects act not only as markers of the past but also as forewarnings for the future. What will we as a contemporary society build and forsake? How will our creations stand the test of time? What will outlive its use in our culture but may ultimately outlast us, the creators? Blagg visually poses these questions to his audiences, hinting that the answers will only be realized with the next generation of creators and builders. Until that time comes, we are responsible for the creations of past generations, whether we preserve, restore, or ignore those objects. We are also accountable for what we leave behind, whether it is art, architecture, or physical waste. Blagg’s paintings have been exhibited in over sixty prominent shows across the United States, and his work is collected by numerous institutions and companies, such as the Modern Art Museum of Fort Worth, the Museum of South Texas in Corpus Christi, the Old Jail House Arts Center, Shell Oil, Fidelity Investments, and The Coca-Cola Company. He has curated multiple exhibitions at the Fort Worth Community Arts Center and was President of the Exhibition Advisory Panel from 2006 to 2008. In 2012 and 2009, he was a finalist for the Hunting Prize, an annual competition in Houston, Texas, that supports Texas artists. He has also received the Cynthia Brants...