28


he does hold forth that all war brings misery and destruction. Crafted primarily in copper, works  not intended as religious images but ironic new creations that speak of time and loss, endurance and physical presence.


 Huan’s commitment to exploring the dimensions of  tradition is always insightful. Likely the artist will settle deservedly and comfortably into the annals


Rodin


of art history as of his time and place, but also be immersed in a humanistic sensibility that is  or visually abrupt, the artist has chosen a course that speaks of China, past and present, in poetic terms but also speaks of its humanity to the larger discourse, again past and present, on humanity and perhaps even the noble topic of humanism. In  and eagerly anticipate as visual sage for both east and west.


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34