Wednesday, May 19, 2010
Arts Commission Presents Zhang Huan's Colossal "Three Heads Six Arms"
SAN FRANCISCO, CA.- San Francisco Mayor Gavin Newsom, Arts Commission President P.J. Johnston and Director of Cultural Affairs Luis R. Cancel dedicated a new temporary sculpture by celebrated Chinese artist Zhang Huan. Presented in conjunction with the Shanghai-San Francisco Sister City 30th Anniversary Celebration, Zhang’s colossal Three Heads Six Arms (2008) made its world premiere in the heart of San Francisco’s Civic Center, the Joseph L. Alioto Performing Arts Piazza, which is located across the street from City Hall. Three Heads Six Arms, courtesy of the artist and The Pace Gallery, New York, are on loan through 2011.
“The installation of Zhang Huan’s spectacular sculpture in the Civic Center marks a high point in the Shanghai-San Francisco Sister City 30th Anniversary Celebration and a milestone for the San Francisco Arts Commission,” said Mayor Gavin Newsom. “By bringing this incredible work of art to the City, we underscore Shanghai and San Francisco’s bond as two of the world’s most important centers for arts and culture.”
Three Heads Six Arms is part of a series of monumental works depicting the fragmented extremities of Buddhist statues. The series was inspired by Zhang’s discovery of religious sculptures that had been destroyed during the Cultural Revolution for sale in a Tibetan market. He began the series in 2006 shortly after moving from New York City to Shanghai where he retired his performance art practice and embraced a more traditional approach to artistic creation. His recent work is characterized by a more overt relationship with traditional Chinese culture and Buddhist iconography. However, he continues to use the body as a primary vehicle for exploring existential questions and expressing emotions, and it is a common thematic thread through his various artworks.
The first sculptures in the Buddha series included nine large-scale copper fingers, which were based on remains he collected during his visit to Tibet. According to Zhang, “When I saw these fragments in Lhasa, a mysterious power impressed me. They’re embedded with historical and religious traces, just like the limbs of a human being.” The fingers of Buddhist deities are considered highly symbolic because they convey different spiritual meanings through various hand gestures, or mudras. Zhang continued the series with several even larger sculptures combining the legs, feet, hands and heads of Buddhist deities. The artist, having been deeply moved by the sight of the desecrated statues, believes that by recreating these fragments on a grand scale, he is able to alleviate the pain caused by their destruction.
Standing over 26 feet tall and weighing almost fifteen tons, Three Heads Six Arms is Zhang’s largest sculpture to date. He began the sculpture by sketching a few ink drafts of Three Heads Six Arms. His assistants then created a miniature, approximately 5′ x 5′ x 3′ clay sculpture that was based on the ink sketches. Once Zhang approved the clay maquette, his assistants constructed a glass-steel model. He then turned the design over to his copper workshop, which is one of nine specialized workshops that comprise his Shanghai studio complex, to build an enlarged copper construct. The hands and body were enlarged directly in accordance to the glass-steel model. However, the head section presented Zhang with several challenges.
Since the expressions on the faces were so elaborate, subtle changes in detail were especially difficult to realize. In order to overcome these issues, Zhang and his assistants created one large-scale isometric clay sculpture by welding together a steel structure and overlaying it with clay. The forging specialist hammered out the copper skin over the clay head model, and the final head was pieced together after all the individual faces were finished. According to Zhang, “When using pieces of copper to make Buddhist images, I like to keep the original character of the copper and the traces of the welding. For me, pieces of copper are like stitched skin after an operation.”
“The shape of Three Heads Six Arms came from my correlation of it with the Chinese mythological character Nezha, inspiration came from Tibetan Buddhist sculptures. I replaced two of the three Buddha heads with human heads,” said Zhang. Among the sculpture’s three heads is a self-portrait of the artist. In his earlier performances and photographs, Zhang always placed himself at the center of the action. Using his own body as his primary medium, he would subject himself to extreme physical trials and exploits often in front of large audiences. By introducing himself into the Buddha series, he reinstates this practice and draws a parallel between the body of Buddhist deities and his own. Zhang has been quoted in a past interview with curator and art historian RoseLee Goldberg as saying, “To me, the objects that I am making now are still very theatrical. I see them as motionless performance art.” Three Heads Six Arms exemplifies how the layers of ideas explored in his performance pieces have carried through to his more traditional studio practice. “Three Heads Six Arms reflects the changing realities of Chinese people today and also reflects the attitude that humankind has conquered nature and even reflects deeds of volition and hope,” said Zhang.
Zhang chose San Francisco as the ideal setting to debut his sculpture, in part because of the long-standing history being honored between Shanghai and San Francisco during this year’s Sister City Celebration.
“The Shanghai San Francisco Sister City celebration commemorates this important time in the history of our two countries when the exchange of art, culture and ideas between the East and West is marked by openness and mutual appreciation. While Three Heads Six Arms clearly embodies ideas that are rooted in Chinese culture and tradition, it is also about our common humanity. I hope that, while the sculpture is in San Francisco, it will serve as a bridge between these two great cities and that it will continue to foster this sprit of tolerance and appreciation,” said Zhang.
“The Pace Gallery is honored to have been able to facilitate the loan of this monumental sculpture by one of the world’s most important contemporary artists to the city of San Francisco. With his continuing interest in the continuity of Buddhist philosophy Zhang Huan deals with the fragmentation of Chinese society by enlarging a small ruined Buddha to heroic scale. By doing this he illustrates the promise of a new society in which the past as well as the present will co-exist with equal value,” says Arne Glimcher, Founder and Chairman of The Pace Gallery.