Exhibition of Select Images from Cui Xiuwen’s Most Important Series at Blindspot Gallery


HONG KONG.- Existential Emptiness continues in a similar vein of digitally manipulated photography as her previous works, Sanjie (2003), One Day in 2004 (2004) and Angel (2006), where brilliant light and colorful palettes shine on the contradictions in cultural traditions and violence enacted against women in China. Existential Emptiness is a continuation of Cui’s self-exploration and artistic expression of the female experience in today’s China. In contrast to the vibrant colours in her previous works, Existential Emptiness is a set of manipulation of digital photographic images of monochromic snow scene where the artist captured in Northern China, the images are reminiscent of traditional Chinese ink painting. Cui’s “girl” protagonist has always been considered as the artist’s alter ego in her works through which Cui addresses the violation of innocence under social and cultural pressure. The use