Kiang gallery was established in 1992 and continues a challenging exhibition program of contemporary works in all media: painting, drawing, contemporary photography, sculpture, digital media, including a long standing commitment to Chinese contemporary art and Chinese photography, by emerging and mid-career artists. In September 2007, Kiang gallery reopened in a completely renovated new space in Atlanta’s booming Westside. Exhibitions run to five weeks and the gallery maintains a complete inventory of work available for acquisition. Kiang’s defining aesthetic, as well as the gallery’s conceptual orientation, reflect a high regard for cross-cultural discourse and non-liner perception.
Ben Steele’s paintings are both transcendental and technological. Sixteen artworks are constructed and refer to the natural physical world, yet also feel digitally produced. In reality, however, there is no digital component to the work. Aiming to simulate a digital vocabulary through physical form, the paintings are based on straight photographs taken, through crystals and prisms, of actual physical constructions.
Cui pursues a critical inquiry into the philosophy of emptiness, a phenomena arising from the Buddha’s observation that nothing possesses an essential, enduring identity and acceptance leading to wisdom and inner peace. This narrative is re -imaged in the dynamic between the artist and her alter ego or dopplegnger.
Ortiz-Hernández’s methodology is in direct contrast being labor intensive, meditative, repetitive to the point of obsessive, and also curiously intuitive. She begins by lightly depicting the surface of a circle or square. Next come dozens and even hundreds of all-over layers, always done with fine, tiny marks just barely visible to the eye. The way all these marks and layers intersect and interact determines the complex surface structure, texture, and color of the works. With Sequitur(2003-04), five individual circles in a horizontal row range from dark gray shading into jet black on the left, through successive lighter charcoal grays. The darkest circle, built from the most layers, is near-solid and monochromatic, but also inky, silky, and smooth, and it is one of many times when Ortiz-Hernández’s geometric forms seem surprisingly sensuous. Around its circumference, miniscule marks merge into lighter shades, including at many points the bare white of the paper. This dissolving, slightly ragged border makes the whole circle active and vibrational, a bit like the sun in total eclipse. As the other four drawings in the series turn lighter by degrees, they seem to be slightly fading into the paper, but as they do their intricate surfaces become exceptionally pronounced and subtly bedazzling-what one perceives is a mix of hyper-precise order and freewheeling events that verge on the chaotic.