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wherein he orchestrated 39 male migrant workers Huan entered as well, carrying a young boy on his shoulders. Interpretation of the piece varies, but the ideas of work, the anonymous worker, cultural elevation and the future are at the fore of contemplating and understanding the work. In each of the aforementioned, especially the latter two, photographing the performance are now icons within the artist’s repertoire.
performance work, which often focused on the outsider in a new culture. His efforts were met with widespread critical acclaim. In Family Tree, 2000, and literally so. Here, he hired three acclaimed calligraphers to repeatedly write in ink across the surface of his face until his features were completely consumed in an anonymous black. Also captured in stunning color photographs, the series spoke of culture and anonymity, individuality and race with found himself eagerly sought after for esteemed Society among other venues. However, being away from his homeland left him longing to connect with young family, established a studio in Shanghai, and ended his performance work but maintained a highly conceptual approach to his sculpture, painting and installations.
China and re-entry into the culture has given rise to some of his most profound works to date. Among these are his works with ash, memory doors, and Buddha related sculpture. A devout Buddhist himself, the artist was surprised to discover burnt incense ash from the temples in and around Shanghai was simply discarded. He began a tradition that continues to the present day of collecting the ash from about twenty temples that is then separated according to hue and texture and utilized as the primary medium in both paintings based on the artist’s collection of 20th century Chinese propaganda photography and public relations graphics. The conceptual constructs of utilizing materials associated with tradition and prayer with imagery that relates to recent history and social conditions is in many ways what elevates the artist’s work to the highest levels. Likewise, the large, wooden country doors discarded in favor of mass produced, metallic successors which are then carved with panoramic scenes of China’s historical past are collectively known as the memory doors. While the provenance of the base material is not lost, it is now juxtaposed with old postcards and travelogues. Past and present interact and support one another in highly innovative ways. Finally, and perhaps most eagerly sought after, are the large created sculptures based on actual fragments of Buddhist statuary that the artist
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