Han highlights techniques and imagery from the art and handicrafts of South Asia, the Middle East, and elsewhere, proposing a visual conversation in which European art history is still present, but not granted undue prominence. The diptych Death and Folly (2020), for example, depicts flower rubbings centered on a glass bead and skull, mixing symbols of impermanence from Western vanitas painting and Buddhist thangka painting. To borrow art historian David Joselit’s phrasing, in the work of these artists, “painting is beside itself”—engaged with its own materiality but also enmeshed in a cross-cultural network of motifs, crafts, technologies, and images. (Text from UCCA)
Han Mengyun: The Shape of Silence