Ye Xue : Burnt Sunset
Forthcoming exhibition
Overview
As we welcome the Year of the Horse, the Rebecca Hossack Art Gallery is delighted to present Burnt Sunset, a solo exhibition by Chinese artist Ye Xue. The exhibition explores the intersection of tradition and modernity, reflecting on hope, rebirth, and cultural identity. Rooted in the Chinese belief that “the sunset is a symbol of hope,” the works suggest that even as the sun descends, renewal is inevitable.
Since 1998, Ye Xue has worked across oil on canvas, ink, and mixed media to construct a powerful, multi-layered narrative inspired by the legend of the Yellow River. His practice is deeply embedded in material memory: from handmade hemp paper traditionally used to cover windows along the banks of the Yellow River in northern Shaanxi, to the incorporation of Yellow River water and loess from the Loess Plateau into the paintings themselves. Each work physically and symbolically carries the spirit of the land and the enduring vitality of the river.
Adopting the vertical scroll format of traditional Chinese landscape painting, Ye Xue imbues his materials with philosophical resonance. Earthen paper becomes a metaphor for the accumulation of civilization; the Yellow River evokes the passage of time; loess represents the foundation of life itself. Through layered textures and luminous colour, the works move beyond conventional landscape, transforming geography into spiritual terrain.
Beyond its physical presence, the Yellow River stands as a foundational symbol of Chinese civilization. Ye Xue’s practice asks how this river has shaped collective memory across history, and how its spiritual force might be reimagined within a contemporary global context.
The exhibition will be presented alongside ceramics by Sarah Goler. Working with high-fired clay, Goler creates functional vessels defined by rounded silhouettes and refined simplicity. Her dip-glazed surfaces emphasise shape and tactility, resulting in pieces that are remarkably lightweight and intimate in scale. In dialogue with Ye Xue’s scrolls, Goler’s ceramics echo themes of earth, material presence, and the relationship between form and meaning.
Reflecting on the series, Ye Xue writes:
“Through the dynamic imagery of ‘burning,’ presented from a static perspective, I reinforce the life philosophy of ‘the impermanence of life, dwelling in the present moment.’ The work retains the Eastern aesthetic concept of harmony between humanity and nature, while incorporating the visual force of Western modern art, forming a visual language for cross-cultural dialogue.”