"One Country Two System" is the phrase used to describe Hong Kong's relationship with the Mainland. Within our society we can also see two systems – the ever-increasing division between the rich and the poor. Nowhere is the more pronounced than in the Special Economic Zone. Exhibition period 16 January 2009 to 28 February 2009 at Philia, 4 Arbuthnot Road, Central, Hong Kong.
The concept of my paintings is there to graphically reflect this disparity. The different scenarios in Hong Kong are depicted in my paintings to make viewers think and feel something. I would also like to welcome spectators' comments on the issues. Should art be thought provoking? Should art make people think and ask questions? Should art speak to the society we live in? Or should art just simply served the wealthy art collectors at the bottom line?
Brief Bio of Winnie Davies
BA in Fine Arts from the University of Hong Kong, and a MA in Design from Hong Kong Polytechnic University.
1976 started Chinese painting, Chinese calligraphy and seal carving
1977 started oil painting.
1996 started learning sculpture
2004 learnt marble sculpture in Italy.
Since 1978, has been exhibited in Hong Kong, Macau, Mainland China,
Taiwan and Canada; and has been collected by private collectors.
Currently the Presidents of both Hong Kong Oil Painters' Guild and Creative Figure Studio; and the Founding Chairmen of both Club 4 Art and Joy Art Club at Fo Tan.
Started drawing portraits by self-taught at the age of 4 before I could read or write. I was fascinated to draw people. Perhaps that was the first thing I saw, being surrounded by people everywhere in Hong Kong. Then I received my initial art training in traditional Chinese painting and calligraphy. I have found that my Chinese traditional training laid an important foundation for my art development. Even though when I switched to oil painting and sculpture, I could still apply the theory of Chinese art into new media. For instance, the brave decision of Chinese ink painting strokes encourages me to spread oil paints on canvas boldly without hesitation. On the other hand, the preciseness of every stroke I learnt from Chinese calligraphy can be applied to every cut I make the decision in marble sculpture. One may not imagine that how Chinese calligraphy is linked to stone sculpture. In fact, their theories are the very similar. For example: every stroke you make on calligraphy has to be so forceful and precise on paper, it parallels to every cut I make on marble sculpture. If you make a mistake on your decision, a wrong stroke on paper or a wrong cut on stone, there is no U-turn.
Therefore I like to mingle my Chinese tradition into oil painting and sculpture in my work