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Q. Wang (born 1962) is a Chinese-American contemporary artist. He briefly studied oil painting at the West Los Angeles College, Ladera Heights, California and today lives and works in Las Vegas where he also maintains a gallery featuring his and others' artworks.^[1]^[2]^[3]

Early life

Born in Changchun, China, Q. Wang spent most of childhood in a small village where his grandparents lived. He attended Zhongshan University, Guandong, China and is a primarily self-taught artist, having begun his professional career as a computer engineer and programmer^[3]^[4]

Freeism

Wang coined the term freeism to describe his artistic practice. According to Q. Wang, Freeism means creating through an associative unrehearsed process, spontaneously using colors shapes, tones and brushwork without any real adherence to the objective world or naturalism. The contemplative, introspective tone and intent of Q. Wang's work merges styles of Contemporary Art and Chinese Culture. Because of the idiosyncratic nature of the artist's work, he can also be considered as an outsider artist,^[5] or a revolutionary artist.^[6]

Q. Wang characterizes his work as "a breaking of two-dimensional and three-dimensional planes" and existing somewhere in between. ^[7] This metaphysical concept has its origins somewhere within Taoism.^[8] And indeed, Q. Wang strives to achieve an esoteric sensibility; there is a reductive evocation of the infinite void of the Dao.^[9] In his first work, My First Painting (2006) Q. Wang composes a visual and meditative study, through the monochromatic exploration of geometric volumes. This immaterial world of the imagination, spiritual, or psychic space is conceptually related to Surrealist automatism, yet much of Q. Wang's work is somewhere between a cool quiet abstraction and a color infused and simplified Fauvism such as Volcano.^[10]^[11] ^[12]

Color is the key expressive tool, as seen in Q. Wang's examination of the persistence of the cycle of life in the abstract and mysterious picture Life in which a seemingly hapless but determined tiny green sapling sails in a sky like expanse of infinite space of rich blues and purples. Large expanses of color dominate in the painting Las Vegas, the composition and scale reminiscent of the later work of Philip Guston, the magnification of abstracted everyday objects in inexplicable space seem almost modernist.^[13]

While Q. Wang considers his work completely original and certainly, it is creatively unique.^[14] There are some obvious comparisons to European Primitivism, Folk Art and Abstraction.^[15] This is seen particularly in works like iconic painting Adam and Eve, a vibrantly yellow painting that features a black limbed tree bearing a morbid fruit, tiny human skulls, the couple contemplating this temptation. Equally dark is Birthday Gift, the background is an oceanic blue, and at the center is a naked woman atop a black birthday cake, a bottle, and wine glass floating in undifferentiated space. Light, saturation, and divided curvilinear shapes inhabit his paintings such as Water, China, which simply captures the flow of the elements in verdant palette^[16] The strange vortex of the painting Seoul, Korea is a compelling vignette, the colours perfectly capturing the loudness, and busy colours of a city.^[17] The simplicity, bright palette and contemplative tone of Q. Wang's oeuvre is part of self-directed introspective process, however we can see visual mirroring of the use of "primitivism" seen in early 20th century European artists. The artist has said he is inspired by the French artist Maurice Utrillo, having encountered his work by chance (via prints on sale at yard sale).^[18]

"As the famous French film producer Jean-Luc Godard said, It’s not where you take things from – it's where you take them to." "Q. Wang has taken me further into the appreciation of my surroundings, people, and love. That is what art is all about."—Gary Sorkin^[16]

Awards

2018, Won Bauhaus Prairie Gallery -- Best of Show
2020, Won Art Room Gallery – Merit Award
2020, Won Grey Cube Gallery – Merit Award
2020, Won National Art League 90th Annual Award

References

^ "tenants - arts factory las vegas". theartsfactory.com.
^ Alex Farquharson, The Magic Hour: The Convergence of Art and Las Vegas, Distributed Art Pub Incorporated, 2001.
^ ^a ^b "Art Chive - Interview of Q. Wang". 7 December 2014.
^ Andrews, Julia. and Gao Minglu. Fragmented Memory: the Chinese Avant-garde in Exile. Columbus, OH: Wexner Center for the Arts, Ohio State University, 1993.
^ Colin Rhodes, Outsider Art: Spontaneous Alternatives, Thames and Hudson, 2000.
^ "Trendsetters, Page 53". 20 February 2015.
^ Chen, Kenneth H. The Chinese Transformation of Buddhism. Princeton: Princeton University Press, 1973.
^ Sean Eichman, Taoism and the Arts of China, University of California Press, 2000.
^ "Daoism and Daoist Art". metmuseum.org.
^ J.H. Matthews The Surrealist Mind, Susquehanna University Press, 1991.
^ Christian Zervos on Matisse: Automatisme et espace illusoire', Northumbria University, May 2012
^ Charles Harrison, Francis Francina, Gillian Perry, Primitivism, Cubism, Abstraction: The Early Twentieth Century, Yale University Press, 1993.
^ Ashton, Dore. A Critical Study of Philip Guston. Berkeley: University of California Press, 1990.
^ "Art Sophia".
^ Kristin G. Congdon and Kara Kelley Hallmark, American Folk Art: A Regional Reference [2 volumes], ABC-CLIO, 2012.
^ ^a ^b "Spirit". Pacific Book Review Online Book Review Service.
^ Andrews, Julia. Painters and Politics in the People=s Republic of China, 1949-1979. Berkeley: University of California Press, 1994.
^ Exposition rétrospective de Maurice Utrillo à l'occasion du trentième anniversaire de la mort de l'artiste, Art Life, 1989.

External links

Official Site
Art Sophia, Russian art website. "FREEISM-new style of Primitivism"
Abah Magazine, Page 11, Arabic Magazine. "Spaces wide and spiritual dimensions, Technical in The Works of Q. Wang"
Trendsetters to Trendsetters, Page 53 A Peoples Magazine. "Q. Wang, A Renaissance Man"
Fine Art Education Research, An Art Magazine of China. "Q. Wang Artworks"

[1] "tenants - arts factory las vegas". theartsfactory.com.

[2] Alex Farquharson, The Magic Hour: The Convergence of Art and Las Vegas, Distributed Art Pub Incorporated, 2001.

[artchive-3] "Art Chive - Interview of Q. Wang". 7 December 2014.

[4] Andrews, Julia. and Gao Minglu. Fragmented Memory: the Chinese Avant-garde in Exile. Columbus, OH: Wexner Center for the Arts, Ohio State University, 1993.

[auto-5] Colin Rhodes, Outsider Art: Spontaneous Alternatives, Thames and Hudson, 2000.

[6] "Trendsetters, Page 53". 20 February 2015.

[7] Chen, Kenneth H. The Chinese Transformation of Buddhism. Princeton: Princeton University Press, 1973.

[8] Sean Eichman, Taoism and the Arts of China, University of California Press, 2000.

[9] "Daoism and Daoist Art". metmuseum.org.

[10] J.H. Matthews The Surrealist Mind, Susquehanna University Press, 1991.

[11] Christian Zervos on Matisse: Automatisme et espace illusoire', Northumbria University, May 2012

[12] Charles Harrison, Francis Francina, Gillian Perry, Primitivism, Cubism, Abstraction: The Early Twentieth Century, Yale University Press, 1993.

[13] Ashton, Dore. A Critical Study of Philip Guston. Berkeley: University of California Press, 1990.

[14] "Art Sophia".

[15] Kristin G. Congdon and Kara Kelley Hallmark, American Folk Art: A Regional Reference [2 volumes], ABC-CLIO, 2012.

[pacificbookreview.com-16] "Spirit". Pacific Book Review Online Book Review Service.

[17] Andrews, Julia. Painters and Politics in the People=s Republic of China, 1949-1979. Berkeley: University of California Press, 1994.

[18] Exposition rétrospective de Maurice Utrillo à l'occasion du trentième anniversaire de la mort de l'artiste, Art Life, 1989.

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@@ Line 1: / Line 1: @@
+{{Short description|Chinese-American contemporary artist}}
-{{notability|date=April 2015}}
+'''Q. Wang''' (born 1962) is a  Chinese-American [[contemporary artist]]. He briefly studied oil painting at the [[West Los Angeles College]], [[Ladera Heights, California]] and today lives and works in [[Las Vegas]] where he also maintains a gallery featuring his and others' artworks.<ref>{{cite web|url=http://www.theartsfactory.com/directory/tenants/|title=tenants - arts factory las vegas|work=theartsfactory.com}}</ref><ref>Alex Farquharson, The Magic Hour: The Convergence of Art and Las Vegas, Distributed Art Pub Incorporated, 2001.</ref><ref name="artchive">{{cite web|url=https://artchive.ru/groups/15/blog/707|title=Art Chive - Interview of Q. Wang|date=7 December 2014 }}</ref>
-'''Q. Wang''' (1962— ) is a  Chinese-American [[contemporary artist]]. He briefly studied oil painting at the West Los Angeles College, Ladera Heights, California and today lives and works in Las Vegas where he also maintains a gallery featuring his and others' artworks.<ref>{{cite web|url=http://www.theartsfactory.com/directory/tenants/|title=tenants - arts factory las vegas|work=theartsfactory.com}}</ref><ref>Alex Farquharson, The Magic Hour: The Convergence of Art and Las Vegas, Distributed Art Pub Incorporated, 2001.</ref>
 ==Early life==
-Born in [[Changchun]], China, Q. Wang spent most of childhood in a small village where his grandparents lived. He attended [[Zhongshan University]], Guadong, China and is a primarily self taught artist, having begun his professional career as a computer engineer and programmer<ref>Andrews, Julia. and Gao Minglu. Fragmented Memory: the Chinese Avant-garde in Exile. Columbus, OH: Wexner Center for the Arts, Ohio State University, 1993.</ref>
+Born in [[Changchun]], China, Q. Wang spent most of childhood in a small village where his grandparents lived. He attended [[Zhongshan University]], Guandong, China and is a primarily self-taught artist, having begun his professional career as a computer engineer and programmer<ref name="artchive"/><ref>Andrews, Julia. and [[Gao Minglu]]. Fragmented Memory: the Chinese Avant-garde in Exile. Columbus, OH: Wexner Center for the Arts, Ohio State University, 1993.</ref>
 ==Freeism==
-Wang coined the term ''freeism'' to describe his artistic practice. According to the Q. Wang, ''Freeism'' means creating through an associative unrehearsed process, spontaneously using colors shapes, tones and brushwork without any real adherence to the objective world or naturalism. The contemplative, introspective tone and intent of Q. Wang’s work merges styles of [[Contemporary Art]] and [[Chinese Culture]]. Because of the idiosyncratic nature of the artist’s work, he can also be considered as an [[outsider artist]].<ref name="auto">Colin Rhodes, Outsider Art: Spontaneous Alternatives, Thames and Hudson, 2000.</ref><ref>{{cite web|url=http://www.moma.org/collection/details.php?theme_id=10053|title=MoMA|work=MoMA.org}}</ref>
+Wang coined the term ''freeism'' to describe his artistic practice. According to Q. Wang, ''Freeism'' means creating through an associative unrehearsed process, spontaneously using colors shapes, tones and brushwork without any real adherence to the objective world or naturalism. The contemplative, introspective tone and intent of Q. Wang's work merges styles of [[Contemporary Art]] and [[Chinese Culture]]. Because of the idiosyncratic nature of the artist's work, he can also be considered as an [[outsider artist]],<ref name="auto">Colin Rhodes, Outsider Art: Spontaneous Alternatives, Thames and Hudson, 2000.</ref> or a revolutionary artist.<ref>{{cite web|url=http://issuu.com/trendtotrendmag/docs/t2t_jan_feb_2015|title=Trendsetters, Page 53|date=20 February 2015 }}</ref>
-Q. Wang characterizes his work as “a breaking of two-dimensional and three-dimensional planes” and existing somewhere in between.
+Q. Wang characterizes his work as "a breaking of two-dimensional and three-dimensional planes" and existing somewhere in between.
-<ref>Chen, Kenneth H. The Chinese Transformation of Buddhism. Princeton: Princeton University Press, 1973.</ref> This metaphysical concept has its origins somewhere within Taoism.<ref>Sean Eichman, Taoism and the Arts of China, University of California Press, 2000.</ref> And indeed, Q. Wang strives to achieve an esoteric sensibility; there is a reductive evocation of the infinite void of the Dao.<ref>{{cite web|url=http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm|title=Daoism and Daoist Art|work=metmuseum.org}}</ref>. In his first work, ''My First Painting'' (2006) Q. Wang composes a visual and meditative study, through the monochromatic exploration of geometric volumes. This immaterial world of the imagination, spiritual, or psychic space is conceptually related to Surrealist automatism, yet much of Q. Wang’s work is somewhere between a cool quiet abstraction and a color infused and simplified [[Fauvism]] such as ''Volcano.''<ref>J.H. Matthews The Surrealist Mind, Susquehanna University Press, 1991.</ref><ref>Christian Zervos on Matisse: Automatisme et espace illusoire', Northumbria University, May 2012</ref>
+<ref>Chen, Kenneth H. The Chinese Transformation of Buddhism. Princeton: Princeton University Press, 1973.</ref> This metaphysical concept has its origins somewhere within Taoism.<ref>Sean Eichman, Taoism and the Arts of China, University of California Press, 2000.</ref> And indeed, Q. Wang strives to achieve an esoteric sensibility; there is a reductive evocation of the infinite void of the Dao.<ref>{{cite web|url=http://www.metmuseum.org/toah/hd/daoi/hd_daoi.htm|title=Daoism and Daoist Art|work=metmuseum.org}}</ref> In his first work, ''My First Painting'' (2006) Q. Wang composes a visual and meditative study, through the monochromatic exploration of geometric volumes. This immaterial world of the imagination, spiritual, or psychic space is conceptually related to Surrealist automatism, yet much of Q. Wang's work is somewhere between a cool quiet abstraction and a color infused and simplified [[Fauvism]] such as ''Volcano.''<ref>J.H. Matthews The Surrealist Mind, Susquehanna University Press, 1991.</ref><ref>Christian Zervos on Matisse: Automatisme et espace illusoire', Northumbria University, May 2012</ref>
 <ref>Charles Harrison, Francis Francina, Gillian Perry, Primitivism, Cubism, Abstraction: The Early Twentieth Century, Yale University Press, 1993.</ref>
-Color is the key expressive tool, as seen in Q. Wang’s examination of the persistence of the cycle of life in the abstract and mysterious picture ''Life'' in which a seemingly hapless but determined tiny green sapling sails in a sky like expanse of infinite space of rich blues and purples. Large expanses of color dominate in the painting ''Las Vegas'', the composition and scale reminiscent of the later work of Philip Guston, the magnification of abstracted everyday objects in inexplicable space seem almost modernist.<ref>Ashton, Dore. A Critical Study of Philip Guston. Berkeley: University of California Press, 1990.</ref>
+Color is the key expressive tool, as seen in Q. Wang's examination of the persistence of the cycle of life in the abstract and mysterious picture ''Life'' in which a seemingly hapless but determined tiny green sapling sails in a sky like expanse of infinite space of rich blues and purples. Large expanses of color dominate in the painting ''Las Vegas'', the composition and scale reminiscent of the later work of Philip Guston, the magnification of abstracted everyday objects in inexplicable space seem almost modernist.<ref>Ashton, Dore. A Critical Study of Philip Guston. Berkeley: University of California Press, 1990.</ref>
-While Q. Wang considers his work completely original and certainly, it is creatively unique, we can see some obvious comparisons such to European [[Primitivism]], [[Folk Art]] and [[Abstraction]].<ref>Kristin G. Congdon and Kara Kelley Hallmark, American Folk Art: A Regional Reference [2 volumes], ABC-CLIO, 2012.</ref> This is seen particularly in works like iconic painting ''Adam and Eve'', a vibrantly yellow painting that features a black limbed tree bearing a morbid fruit, tiny human skulls, the couple contemplating this temptation. Equally dark is ''Birthday Gift'', the background is an oceanic blue, and at the center is a naked woman atop a black birthday cake, a bottle, and wine glass floating in undifferentiated space. Light, saturation, and divided curvilinear shapes inhabit his paintings such as ''Water, China'', which simply captures the flow of the elements in verdant palette<ref name="pacificbookreview.com">{{cite web|url=http://www.pacificbookreview.com/spirit|title=Spirit|work=Pacific Book Review Online Book Review Service}}</ref>
+While Q. Wang considers his work completely original and certainly, it is creatively unique.<ref>{{cite web|url=http://artsophia.ru/user/Ruzina_13/news/|title=Art Sophia}}</ref> There are some obvious comparisons to European [[Primitivism]], [[Folk Art]] and [[Abstraction]].<ref>Kristin G. Congdon and Kara Kelley Hallmark, American Folk Art: A Regional Reference [2 volumes], ABC-CLIO, 2012.</ref> This is seen particularly in works like iconic painting ''Adam and Eve'', a vibrantly yellow painting that features a black limbed tree bearing a morbid fruit, tiny human skulls, the couple contemplating this temptation. Equally dark is ''Birthday Gift'', the background is an oceanic blue, and at the center is a naked woman atop a black birthday cake, a bottle, and wine glass floating in undifferentiated space. Light, saturation, and divided curvilinear shapes inhabit his paintings such as ''Water, China'', which simply captures the flow of the elements in verdant palette<ref name="pacificbookreview.com">{{cite web|url=http://www.pacificbookreview.com/spirit|title=Spirit|work=Pacific Book Review Online Book Review Service}}</ref>
-The strange vortex of the painting ''Seoul, Korea'' is a compelling vignette, the colours perfectly capturing the loudness, and busy colours of a city.<ref>Andrews, Julia. Painters and Politics in the People=s Republic of China, 1949-1979. Berkeley: University of California Press, 1994.</ref> The simplicity, bright palette and contemplative tone of Q. Wang’s oeuvre is part of self directed introspective process, however we can see visual mirroring of the use of “primitivism” seen in early 20th century European artists. The artist has said he is inspired by the French artist [[Maurice Utrillo]], having encountered his work by chance (via prints on sale at yard sale).<ref>Exposition rétrospective de Maurice Utrillo à l'occasion du trentième anniversaire de la mort de l'artiste, Art Life, 1989.</ref>
+The strange vortex of the painting ''Seoul, Korea'' is a compelling vignette, the colours perfectly capturing the loudness, and busy colours of a city.<ref>Andrews, Julia. Painters and Politics in the People=s Republic of China, 1949-1979. Berkeley: University of California Press, 1994.</ref> The simplicity, bright palette and contemplative tone of Q. Wang's oeuvre is part of self-directed introspective process, however we can see visual mirroring of the use of "primitivism" seen in early 20th century European artists. The artist has said he is inspired by the French artist [[Maurice Utrillo]], having encountered his work by chance (via prints on sale at yard sale).<ref>Exposition rétrospective de Maurice Utrillo à l'occasion du trentième anniversaire de la mort de l'artiste, Art Life, 1989.</ref>
-"As the famous French film producer Jean-Luc Godard said, It’s not where you take things from – it’s where you take them to." "Q. Wang has taken me further into the appreciation of my surroundings, people, and love. That is what art is all about."—Gary Sorkin<ref name="pacificbookreview.com"/>
+"As the famous French film producer Jean-Luc Godard said, It’s not where you take things from – it's where you take them to." "Q. Wang has taken me further into the appreciation of my surroundings, people, and love. That is what art is all about."—Gary Sorkin<ref name="pacificbookreview.com"/>
-==Press==
+==Awards==
+, Won Bauhaus Prairie Gallery -- Best of Show<br>
-* [http://www.pacificbookreview.com/spirit Pacific Book Review]
+, Won Art Room Gallery – Merit Award<br>
-* [http://chinesedaily.com/epaper/acdsee.asp?p=0&d=100914&l=1&n=26 Taiwan Daily News], a Taiwanese newspaper.
+, Won Grey Cube Gallery – Merit Award<br>
-* [https://artchive.ru/groups/15/blog/707 Art Chive], Russian art website
+, Won National Art League 90th Annual Award<br>
-* [http://artandworld.ru/?s=Q.+Wang Art and World], Russian arts and peoples website.
-* [http://www.newsabah.com/wp/newspaper/31046 News Abah], Arabic news website.
-* [http://www.newsabah.com/wp/wp-content/uploads/2014/12/3016.pdf Abah Magazine], Arabic Magazine.
-* [http://issuu.com/trendtotrendmag/docs/t2t_jan_feb_2015 Trendsetters to Trendsetters] A Peoples Magazine.
-* [http://msjyyj.com/JournalsInfo.aspx?id=1391 Fine Art Education Research], An Art Magazine of China.
 ==References==
@@ Line 33: / Line 29: @@
 ==External links==
-* {{Official website|http://www.Q-Wang.com Q-Wang.com}}
+* [http://q-wang.com Official Site]
+* [http://artsophia.ru/user/Ruzina_13/news Art Sophia], Russian art website. "FREEISM-new style of Primitivism"
+* [http://www.newsabah.com/wp/wp-content/uploads/2014/12/3016.pdf Abah Magazine, Page 11], Arabic Magazine. "Spaces wide and spiritual dimensions, Technical in The Works of Q. Wang"
+* [http://issuu.com/trendtotrendmag/docs/t2t_jan_feb_2015 Trendsetters to Trendsetters, Page 53] A Peoples Magazine. "Q. Wang, A Renaissance Man"
+* [https://web.archive.org/web/20150402095419/http://msjyyj.com/JournalsInfo.aspx?id=1391 Fine Art Education Research], An Art Magazine of China. "Q. Wang Artworks"
+{{authority control}}
+{{DEFAULTSORT:Wang, Q.}}
-{{Persondata
+[[Category:American contemporary artists]]
-| NAME = Wang, Q.
+[[Category:Chinese contemporary artists]]
-| SHORT DESCRIPTION = Primitivist painter
+[[Category:Living people]]
-| DATE OF BIRTH = 1962
+[[Category:1962 births]]
-| PLACE OF BIRTH = Changchun, China
+[[Category:20th-century American artists]]
-| DATE OF DEATH =
+[[Category:20th-century Chinese artists]]
-| PLACE OF DEATH =
+[[Category:21st-century American artists]]
-}}
+[[Category:21st-century Chinese artists]]
-{{DEFAULTSORT:Freeism}}
-[[Category:American contemporary artists|Q]]
-[[Category:Chinese contemporary artists|Q]]