Latent Images: Hidden Truths — Abstract Art from China, Japan and South Korea

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Latent Images: Hidden Truths — Abstract Art from China, Japan and South Korea
展期：2025年11月30日（星期日）至2026年3月3日（星期二）Date：2025.11.30(Sun.)-2026.3.3(Tue.)展览地点：广东美术馆新馆四楼14号厅Venue: Hall 14, 4F, Guangdong Museum of Art (Baietan)

Latent Images: Hidden Truths
Latent Images: Hidden Truths illuminates the deep logic and spiritual core of East Asian
abstraction within the tension of time and the unseen. Rather than presenting only terminal
forms, the exhibition foregrounds processes of emergence: color answering void, matter
colliding with chance at the threshold, and the body intersecting time to generate meaning.
Abstraction thus exceeds immediate visual pleasure to become a path of praxis and
reflection.
In China, abstraction remains inseparable from calligraphic and poetic lineages: Chu
Teh-Chun composes a cosmic order through expansive chroma and liberated brushwork;
Wu Guanzhong fuses structure and lyricism into interior landscape; Tan Ping opens
meditative temporal fields through restraint and interval; Ding Yi forges a rational tension
between order and contingency via the accretive “cross.
” Equally pivotal, Wang
Shaoqiang—in his dual vantage as scholar-practitioner and Director of the Guangdong
Museum of Art—repositions abstraction across curatorial, institutional, and public registers,
translating writing-based form into civic discourse and widening its cultural coordinates.
In parallel, Yang Liming advances a structurally grounded, often restrained chromatic
practice where minute tonal shifts and calligraphic curves reach a perceptual threshold;
layered skins and breathing rhythms draw viewing from image-reading to lucid attention,
rendering abstraction a durational experience.
In Korea, abstraction turns on “accumulated time” and “bodily discipline.
” Kim Whanki
orchestrates cosmic rhythms through dots and spectral color; Lee Ufan relocates encounters
of matter and emptiness into philosophical fields; Park Seo-Bo elevates repetition into daily
practice; Kim Tschang-Yeul stages the optical paradox of the water drop between reality and
illusion. Park Suk-won composes an abstract “structural symphony” in metal, stone, and
wood, converting weight, density, and surface temperature into testimonies of time—an
outlook informed by his avant-garde formation and sustained material inquiry. Meanwhile,
Kim Deok-Han bridges traditional East Asian lacquer and contemporary sensibility: long
cycles of coating, resting, and polishing transform material density into meditations on time
and inner luminosity.
Japan unfolds a spectrum from postwar experiment to contemporary material innovation:
Yasuo Sumi’s brushes and vibrating tools make bodily energy and chance palpable;
Tsuyoshi Maekawa’s folds and seams in coarse burlap produce relief-like dynamics; Tetsuo
Mizu extends a free, poetic brush language; Masayuki Tsubota probes materiality and spatial
breath through color and meticulous surfaces. Historical experiment and present innovation
here mutually enrich the arc of Japanese abstraction.
Latent Images is therefore not a comparative taxonomy of styles but an apparatus of
experience inviting participation. It asks us to slow down, linger, and breathe: not swift
consumption but durational practice; not fleeting inspiration but sustained discipline; not
uniformity but respect for difference. Hidden truths lie in textures, chromatic echoes, frictions
between matter and body, and the sediment of time. As we stand and breathe with the
works, those truths gradually surface—just as latent images reveal themselves over time, so
too does the truth of abstraction unfold within consciousness.


#asianart #exhibition #museum #contemporaryart