Zhoa Zhi Xiong , Duoling Huang

China-born, New York-based painter Zhoa Xiong has made a specialty of oil-on-canvas works describing the lotus, a water lily with large leaves and fragrant flowers found throughout China. The lotus is very influential in Buddhist thought—the Lotus Sutra remains one of the most popular writings in Mahayana Buddhism—so painting the plant carries with it considerable cultural significance. Xiong creates his compositions with the use of brilliant colors, which modernizes his treatment of an ancient symbol. And while representing nature continues to be central to Asian art, in Xiong’s case he has also brought to his work a deep-seated awareness of Western painting techniques, the result of his long stay in America. His double affiliation conveys an equal affection for both traditions; one of the foremost strategies of Chinese painters has been the reconciliation of Asian thematic content with Western techniques, an accomplishment nicely achieved by Xiong, whose skills look to the tradition of organic abstraction in Western art.

Technically and temperamentally, Xiong has effected a merger between two categories of painting—something that traditionally has proved extremely difficult to do. In one work, he describes the leaves, pods, and stems of the flower in a wonderfully freehand fashion, with the natural forms realized against a red background. This work does not connect in any particular way with the history of Chinese ink painting; however, Xiong’s sensitive presentation of the specific shapes associated with the lotus suggests that his appreciation of Chinese art remains strong. At the same time, however, certain affects—for example, the small drips that sometimes extend from the leaves, or the overlay of colors and forms—strike this writer as a nod toward the history of the New York School, its abstract expressionism sometimes uncannily alike to the gestural flow of Asian painting. Interestingly, Xiong doesn’t make a big philosophical deal of his influences, inspirations, and origins; instead, he allows the paintings themselves to raise issues that stay alive in the many cultures of New York’s art life.

Huang includes interior settings in her works. She uses both Western and Eastern furniture styles as major subjects in her paintings. The furniture's cultural characteristics from different traditions contain the symbolic meaning of combination and cross-culture. Huang also integrates architectural elements into her paintings. These include: windows, doors, columns, and screens. She divides the space on the canvas with geometric shapes.  Eastern furniture is a common element in interior design in America. Both Western and Eastern furniture have existed for thousands years.

Huang’s work responds to the traditional work of women for many centuries, housekeeping, interior design, creating a home.  However, she responds to this traditional role with a decidedly contemporary response.  Huang becomes the architect of her interiors rather than the homemaker.  She embraces the sharp edges and flat

color applications of the Tang and Song dynasties.  Her simplified shapes and man-made colors are appropriations from mid-century Western masters. Huang use of textile design, and decorative patterning gives the paintings their harmonious, energetic rhythm.

Both Xiong and Huang have been married for close to 25 years.  They both emigrated from China after the Cultural Revolution.  Both artists’ have responded to their cross-cultural identities in their work.  What is of great interest in the works shown together is how as partners, their work has become increasingly more like each other.  Both artists retain their individuality as painters and people, they retain their traditional culture, however their paintings have become at once like children born in a new land, the ultimate combination of both people and both cultures.