Kuang Zai / 匡再

匡再 / Kuang Zai is a realist painter. Unlike the works of some realist artists, Kuang's paintings are never overworked. As the art critic Robert Nelson remarked, they demonstrate an 'instinct for unfussy emphasis', a quality that grounds his figures and objects in the real world. At the same time, reminiscent of Edward Hopper, with a more subdued colour palette, like that of still-life painter Giorgio Morandi, Kuang's paintings possess a sense of the private, inner world of his subjects that is neither predictable nor sentimental. As Nelson wrote:

‘Just as the brush invests no more or less attention than an object deserves, so the family life in Kuang’s picture makes no unnecessary claims for itself. It is restful, as if abstracted by suburban tranquillity, but with a kind of monumental concentration arising from the reflection that the painter gives to the moment’.(1)

In all of Kuang's works, this carefully cultivated sense of tranquillity suspends time and place. It provides a space for thinking about families and their symbols – not from intellect forward, but intuitively through the feelings evoked by the people and the everyday objects painted.

This touching exploration of family life, the everyday and the innocence and inner world of childhood across cultures, is the artist’s longstanding preoccupation and the subject of five new paintings presented for Silent for Dialogue /
沉默的对话. As the artist explains:

I know that every adult individual has different dreams and experiences that shape and mould who they are today. Within today's society, these dreams and memories are too often lost and forgotten within the struggles and routines of daily life. I hope that through my paintings, these memories are rekindled through the viewer's imagination.

Since arriving in Australia in 1998, Chinese born 匡再 / Kuang Zai has exhibited in over 15 solo and 44 group exhibitions. He has been the recipient of numerous art prizes and a finalist in the Archibald Prize (2007, 2008), the Doug Moran National Portrait Prize (2007, 2009, 2010), the Sulman Prize (2012), the Fleurieu Art Prize (2008, 2011) and the Albany Art Prize (2008, 2010, 2011 and 2012), to name but a few. His works are held in various public and corporate collections, including the Cowra Regional Art Gallery, BHP Billiton, Monash University, Macquarie University, and various private collections internationally.

From 13-16 January 2022, Kuang's works will be displayed at Missing Persons art space, located in the Nicholas Building on Swanston Street in Melbourne city. His works will be shown alongside those of fellow artists 何佩佩 / He Pei Pei and Jenny Zhe Chang / 珍妮喆张. Check out our Exhibition Program for details.

ET— 1) Zai, in this new series of works, you’re continuing your examination of family life, the everyday and the innocence and inner world of childhood across cultures. In particular, the importance of imagination as a cognitive space where new ideas and understandings can be shared. What is it that draws you to this set of concerns?

ET—2) Why do you think it is important to make art that reminds us of our childhood experiences – the simple acts of imagining, questioning and playing, but also simply just the idea that we were all children once? What can it remind us of when going about our everyday lives as adults?

ET—3) During the COVID-19 lockdown age, when we have been confined to the domestic space, our family dynamics have been under re-negotiation and sometimes strain – especially for families with young children. Situated within this context, this series of works feels enormously relevant to our time, resonance on the idea of home as a space for solace and self-discovery. While each piece in the series feels very connective, each one conveys a different story and emotion.

In Children #3 2020 (pictured above), I am reminded of your recent work Girl and toy 2020, which we exhibited as part of the project Thinking about Immortality and Kindness. Standing at the dinner table, hands resting gently on the domestic dinner table, there is a sense of something personal and intimate about the girl's presence in the work. The toy blocks are revealing here. 

Whilst several have been arranged in careful formations; others feel a little 'discarded' on the table as the girl's wide-eyes search the viewer out. She almost seems to be imploring us to notice; she is on the threshold of frustration or boredom, ready to abandon her task if input or engagement from mum, dad or big sister is not forthcoming! 

And yet, those shadows which visually connect the space between the girl and her blocks; renew the connection and her determination. One can almost imagine her snatching the blocks back in protest if she were asked to clean up her blocks for dinnertime.

In contrast, in Sarah's lunch 2020 (pictured below)– the only work in this new series that acknowledges the sitter's name - the mood is different. The table has been cleared, and Sarah awaits her meal. The slight smile on her face and the pink spoon in hand suggests a lightness of mind.

Like Children #3 2020, the colour composition is harmonious. However, unlike Children #3 2020, where the coolness of the colour composition seems to isolate the girl and her blocks and create a sense of her ambivalence, in Sarah's lunch 2020 the colours convey a different attitude.  

Sarah is front and centre. The surrounding colour composition seems to draw from her pinkish singlet, which has the effect of integrating her into the surrounding environment. There is an attitude of acceptance into the everyday routine – perhaps as she awaits her treat in reward for good behaviour? 

Would you share some perspectives on this interpretation of the works and what you wanted to explore?

ET—4) In the remaining works, the familiarity of everyday objects remain. Still, the narrative shifts to be more centrally focused on the children - their presence, postures and actions in particular areas of domestic space. 

Girl standing #2 2020 (pictured below) depicts a young girl standing at the base of the domestic staircase. As you have said of your work: ‘The relationship between the space and figure is also a central focus of my work, where typically one figure or object dominates the painting, whether in motion or a fixed position’. 

This emphasis on the relationship between space and figure is evident. However, it seems to me that in this work, as in Children #3 2020 and Sarah’s lunch 2020, the predominance of the central figure is carefully negotiated and balanced through the effect of colour. 

In Girl standing #2 2020, at first, the girl seems to be disappearing into that white wall, which stands in contrast to the brown carpeting of the staircase. However, as the viewer continues to look, one notices her pink shoes, which immediately grounds her presence in the space.

We notice the slightly pink hue of her stockings, which matches the pink ribbon tied around her blond head of hair. And then her blue top. Whilst not immediately visible, each of these features set her apart and ground her – as does the shadow of her body cast on the wall.

Through colour, we notice her gestures. Standing upright, hands at her side, she looks a little defiant; perhaps she has been asked to take the long walk upstairs to go to bed. At the same time, one notices a slight bend in her leg and whilst her hands are at her side, they are also furtively concealed. 

Both gestures suggest a sense of tentativeness or vulnerability; perhaps if she asks very nicely, she won’t have to go upstairs alone. She might be able to stay downstairs a little longer. Unlike the other works in this series, her face is hidden from view.  

The decision to omit her facial features underscores the sense of duality at play, also expressed by the presence of the show. After all, there is often a fine line between defiance/confidence and vulnerability, fear of missing out and acceptance of one's lot. 

Zai, would you comment a little on this interpretation, the tensions outlined and this work, especially as it compares with the other works?

ET—5) I'd like to turn now to Seeing 2020 (pictured below) and Girl in the room 2020 (pictured top of page). In Seeing 2020, the child lifts aside a curtain to gaze out of what one imagines must be a window. The window is not fully expressed in paint, but its presence is felt nonetheless.  

She is in side profile, and we don't see her whole expression. However, somehow the inference of the window adds a sense of hopefulness. The cheerful colour of her blouse adds to this sense of hopefulness and anticipation. She seems to be asking herself; I wonder what lies in wait for me outdoors today? Still, peaking out infers a hint of hesitation on her part, and this counter-balances the narrative.  

In contrast, Girl in the room 2020 feels less hopeful. Eyes downcast, the girl walks along and has stopped momentarily to rest her hand on the dining room table. Like Seeing 2020, she is painted in side profile. We can't fully see her expressions. And, yet that resting hand and slightly downcast countenance conveys a sense of introspection, even loneliness.

The paired back composition (noteworthy in comparison to the other works in the series) and the coolness of the surrounding colour palette, which seems to leave only her alone in the room, adds to this sense of loneliness.

And, yet, perhaps introspection need not be lonely? Or, more likely, maybe loneliness is not something we need to think about negatively? Instead, perhaps we need to remember that introspection provides a space for gathering insight and loneliness, is part of the human condition.

Would you comment a little on this interpretation and what you were aiming to explore with this particular work? Secondarily, would you also comment on this perspective around loneliness?

ET—6) In looking at the works collectively, even in moments of emotional complexity, the paintings cultivate a sense of silence and calm. This attribute, whilst being difficult to explain, seems to extend the way we interpret them. It creates a space for multiple voices and readings that ask us to think about what sometimes might be inexpressible about the human condition.

Is this something you’re consciously cultivating in your work? You have taught children (and adults) for 20 years. Do you think this has informed your sensibility when it comes to cultivating works that centralise the multitudinous voices of childhood?

Perhaps, this also makes you quite attuned to non-verbal communication – small and varied expressions of emotion or spirit which can be understood through bodily gestures. Do you think such sensitivity could inform your paintings of childhood?

ET—7) Zai, one of the things I notice of course about this series is that each of the works' depict girls. I know you have also painted boys within your broader oeuvre. However, I wondered if you were seeking to tap into something specific about a female sensibility in the works? What I think is enormously interesting is the emotional range of the works. This range can, of course, be felt within individual works as outlined above. However, when we look at the works collectively, there is a lovely sense of the many-sided expression of young female sensibility. 

For instance, in Children #3 2020, she is a little bold but also unsure. In Sarah's lunch 2020, she is amiable and responsible – confident she is on the right path.  In Girl standing 2020, she is again bold but also innocent and vulnerable.  In Seeing 2020, she is excited but also a touch hesitant. In Girl in the room 2020, she is independent but also a touch lonely.  

Throughout history, depictions of women and especially young women, have tended to be quite one dimensional. This trend continues today. So, I think it's really heartening to see work that expresses a range of emotions connected with womanhood. Was this something you were consciously exploring? 

ET—8) In closing, I love that there are children depicted are from a range of cultural backgrounds. There is no need to draw attention to this through titles or names. It is simply understood. Again, this plays into this idea of the universality of certain aspects of childhood. Our everyday life experiences are different. We may not come from a home with the conventional two parents or we may not share all of the same cultural or religious beliefs, but we all experience the different emotions of growing up and becoming part of adult society.  Hopes, dreams, fears, etc. What do you think?