Owl 1978

Editor: Here we have Huang Yongyu's "Owl" from 1978, created with ink on paper. It’s striking how he captures the owl’s character with such simple, almost playful strokes. What's your perspective on this work? Curator: It's precisely this tension between apparent simplicity and deliberate execution that fascinates me. Let’s think about the paper itself – its sourcing, texture, and the way it interacts with the ink. This isn’t just a neutral ground; it's an active participant in the creation of the image. Editor: I hadn't considered the paper so much, just the brushstrokes. Curator: Consider also, that in traditional contexts, the calligraphic elements accompanying the image – the inscriptions – are not mere decoration but intrinsic to the artwork’s meaning and production. The seal acts as an official mark of approval but also attests to a history of handling and display. And it invites us to ask questions about artistic labour itself. How was it displayed? Who commissioned it? How does the artist see the materials he used to make this? Editor: I see what you mean! Looking closer, it is very much about the application, about how the ink bleeds, and about what the writing is saying. The owl is almost secondary. Curator: It isn’t that it is secondary. The figure is very present, and you said "playful" which I agree with; it speaks to both his engagement and sense of freedom, but it comes from his practice. Now, considering Huang Yongyu’s life and his work's trajectory, particularly during periods of political constraint and creative flourishing, how might we interpret this owl through the lens of artistic production as resistance, perhaps, or resilience? Editor: That is insightful. It definitely makes me look at the work, and indeed all artworks, in a completely different way. Thank you! Curator: The value of the material, in many ways, provides just as much narrative as the final artwork itself! A useful and worthy viewpoint to remember.