David Huang

David Huang

Profile | Statement | Biography

David Huang • Profile

At the end of an era of conceptual art that treats objects merely as symbols, David Huang's primary concern is to create works that do not just allude to other ideas or simply create illusions. He designs structures that change the surface of our planet, using its materials to create beautiful objects that capture the spirit of the times in which we live. Each vessel is an exploration of the physical and sensuous material world. Above all else, the resulting pieces must exist as physical objects with all their material wisdom. Hammering and molding, Huang is all the time sensitive to the nature of the materials he uses. They maintain their specific identity, lending their original properties and innate knowledge to his ideas. Huang's work is a demonstration of the beauty and brilliance that can result from a sensitive collaboration between the human and material worlds. "The human world is mostly in the mind, an abstract intellectualism that frequently becomes self-referential, losing sight of the spirit in the material universe. . .it seems that our time of incarnation within a body equipped to perceive the sensuous should not be focused entirely on the abstract."

This being said, however, Huang still admits to some degree of symbolism in his work. Each vessel simultaneously acts as a representation and an exploration of the tactile nature of materials, his small vessels abstractly depicting individuals. "The common lack of a distinct base isolates them from the environment in which they exist so they may be perceived as discrete entities... the protective, inward turning of the lip is symbolic of my own reserved, closed-off nature. The luminous interiors of the vessels represent my idealisms of the inner soul." Achieved through the delicate application of gold and platinum leafing, the radiant vessel interiors reflect a refreshing optimism and innocence seldom found in today's day and age. Whether an exploration of the inner-workings of materials or the inner-workings of the human spirit, Huang rejects conventional cultural paradigms, revealing a brilliant reverence for the essence of all citizens of the earth—human and otherwise.

David Huang • Statement

I’ve been building a new studio recently.  It’s not quite done yet but hopefully it will be soon.  My aim is to keep it completely off-grid.  It’s designed to be heated from passive solar gain and, I expect, some supplemental “waste” heat I generate in my working processes.  When I started planning the electricity requirements I realized it was feasible for me to use a mid-sized array of photovoltaic solar panels.  This sort of surprised me.  I have a fair number of power tools in my current studio, but when I considered it, I realized many are not used.  Those that are get used very little.  This realization highlighted for me something about my work.  The tools and techniques used are really rather primitive.  I’m realizing that it wasn’t an accident. I liked this.  It’s part of what my work is about.

I don’t think of my vessels as being an expression of my voice alone.  Rather I see them as the product of a conversation among the tools, materials, and myself in search of beauty.  As my real desire is to achieve a timeless beauty, to which people from any point in history might connect, it makes sense to be listening to the voices of simple but timeless tools.  The humble hammer is my prime tool.  I supply the power and it bends, stretches, compresses, and moves the metal according to the particular shape, weight, and hardness of its head.  The forming stakes I work upon offer their strength to resist the hammer, and their curves to impart a controlled form.  The voices of the hammer and stake are a harmony that work best together.

Primal elements known as fire and water play a critical role in creating the vessels.  They’re transformative, changing the structure of the metal.  Fire is my tool for softening, making the work more malleable, or even liquid in the case of soldering.  The quenching in water sets this new state and brings the temperature back into the range human hands can tolerate.  

The materials each lend their voices to the final piece.  Copper shows us what it means to be malleable by bending, compressing, and stretching readily to take on any form.  Yet, it retains its strength to keep a shape.  The patinas offer a richness of color and surface when conferring with the copper.  Sterling silver gives a quiet elegance in its role of defining the edge.  Its color transitions nicely between the interior and exterior, reflecting to us a bit of both.

Finally, gold has been associated for ages with the sun, that ball of energy which gives us life, and it plays in these pieces as almost magical.  Gold is inviting and reveals to us the light.  It is this light which, to me, keeps these vessels from being empty.  The light fills them with life.  I find this symbolic of the inner spirit.

I see my role in this to be providing a conscious order, orchestrating the mix of voices, hoping to present a work we as humans can appreciate.  It is my desire to bring about works which don’t just symbolize, but actually evoke feelings of beauty and joy.

David Huang • Biography

EDUCATION

1991 - 2001
Bachelor of Fine Arts, Magna Cum Laude: Metalsmithing Emphasis, Grand Valley State University, Allendale, Michigan

1998
Ox-Bow Summer Program, The School of the Art Institute of Chicago, Saugatuck, Michigan

1989-1991
Bachelor of Fine Arts Program, The Savannah College of Art and Design, Savannah, Georgia

SELECTED EXHIBITIONS

2008
LaFontsee Galleries, “Luminosity: Carolyn Fehsenfeld and David Huang,” Grand Rapids, Michigan

2007
del Mano Gallery, “Hot Tea!,” Los Angeles, California

Grand Rapids Community College Art Gallery , "GRCC Visual Arts Faculty Exhibition ," Grand Rapids, Michigan

Grand Rapids Art Museum, "Festival 2007 Regional Arts Competition," Grand Rapids, Michigan; received the Juror Community Hands Award

Muskegon Museum of Art, "79th Regional Exhibition," Muskegon, Michigan; received honorable mention award

National Ornamental Metal Museum, "10 x 10 Broachless," Memphis, Tennessee

2006
Muskegon Museum of Art, "Shaped in Metal," Muskegon, Michigan

Frederick Meijer Gardens and Sculpture Park, “Vessels of Imagination ,” Grand Rapids, Michigan

Muskegon Museum of Art, "78th Muskegon Museum of Art Regional," Muskegon, Michigan

Grand Rapids Art Museum, Festival 2006 Regional Arts Competition, Grand Rapids, Michigan; Received Salhaney Family Award for Innovative Use of Old Media

del Mano Gallery, "Hot Tea! 2006," Los Angeles, California

2005
LaFontsee Galleries, “TWO,” Grand Rapids, Michigan

Hinsdale Center for the Arts, “Adornments,” Hinsdale, Illinois

Grand Rapids Community College Art Gallery, GRCC Visual Arts Faculty Exhibition, Grand Rapids, Michigan

Creative Metalsmiths, “Married Metals,” Chapel Hill, North Carolina

del Mano Gallery, SOFA Chicago 2005, Chicago, Illinois

Muskegon Museum of Art, 77th Muskegon Museum of Art Regional, Muskegon, Michigan; received Honorable Mention for ‘Luminous Relic #413’

Grand Rapids Art Museum, Festival 2005 Regional Arts Competition, Grand Rapids, Michigan; received Salhaney Family Award for Innovative Use of Old Media for ‘Whorled Flow #394’

del Mano Gallery, “Hot Tea! 2005,” Los Angeles, California

Decorative Arts Center of Ohio, “Masterful Metalsmiths,” Lancaster, Ohio

Franciscan Life Process Center, “Let’s Celebrate Drawing,” Lowell, Michigan

2004
University of Michigan Hospital, Main Lobby 3-D Gallery, Solo Exhibition, Ann Arbor, Michigan

Holland Area Arts Council, "Vessels," Holland, Michigan

Grand Rapids Community College Gallery, GRCC Visual Arts Faculty Exhibition, Grand Rapids, Michigan

Mobilia Gallery, "The Teapot Redefined IV," SOFA Chicago 2004, Cambridge, Massachusetts

Yaw Gallery, "Pill Box Exhibition," SOFA Chicago 2004, Birmingham, Michigan

LaFontsee Galleries, "Tactile Surfaces," Grand Rapids, Michigan

Yaw Gallery, "Metal Baskets," SOFA New York 2004, Birmingham, Michigan

Grand Rapids Art Museum, Festival 2004 Regional Arts Competition, Grand Rapids, Michigan

del Mano Gallery, "Hot Tea! 2004," Los Angeles, California

The Columbus Cultural Arts Center, "The Arsenal Metals & Enamels Exhibition 2004," Columbus, Ohio

Dennos Museum Center, "Stop It!" Traverse City, Michigan

LaFontsee Galleries, "Polished," Three-Person Exhibition, Grand Rapids, Michigan

2003
LaFontsee Galleries, "Holiday Muse," Group Exhibition, Grand Rapids, Michigan

Creative Metalsmiths, "Current Metalsmithing of David Huang," Solo Exhibition, Chapel Hill, North Carolina

Franciscan Life Process Center, "Figures and Trees," Solo Exhibition of Drawings, Lowell, Michigan

Vale Craft Gallery, "Midwestern Craft," Chicago, Illinois

Yaw Gallery, "Stop It! Bottle stoppers as original, usable art." SOFA Chicago 2003, Birmingham, Michigan

Mobilia Gallery, "Teapot Redefined," SOFA Chicago 2003, Cambridge, Massachusetts

Yaw Gallery, "Metalsmiths in America No. 3 SOFA New York," Birmingham, Michigan

Muskegon Museum of Art, 75th Muskegon Museum of Art Regional, Muskegon, Michigan

Grand Rapids Art Museum, Festival 2003 Regional Arts Competition, Grand Rapids, Michigan

Ann Arbor Art Center, "Jewelry and Objects 2003," Ann Arbor, Michigan

Stephen F. Austin State University, Griffith Gallery, "Refined III," Nacogdoches, Texas

2002
LaFontsee Galleries, "Personal Possessions," Three-Person Exhibition, Grand Rapids, Michigan

LaFontsee Galleries, "15th Anniversary Celebration," Grand Rapids, Michigan

Fine Art on the Grand Festival, Live Demonstration, Canal Street Park, Grand Rapids, Michigan

Yaw Gallery, "Metalsmiths in America No. 2 SOFA Chicago," Birmingham, Michigan

Slocumb Galleries, "Amalgamate," East Tennessee State University, Johnson City, Tennessee

Prairie State College, Christopher Art Gallery, "Let There Be Light," Chicago Heights, Illinois

Yaw Gallery, "Metalsmiths in America No. 1 SOFA New York," Birmingham, Michigan

Muskegon Museum of Art, 74th Muskegon Museum of Art Regional, Muskegon, Michigan

Grand Rapids Art Museum, Festival 2002 Regional Arts Competition, Grand Rapids, Michigan; "Philodendron Vessel" granted the Vinecroft Studios Award

Period Gallery, "Beautiful II," Omaha, Nebraska

2001
Adler Gallery, "La Petite IX," Coburg, Oregon

Worchester Center for the Crafts, "Gone Bowling," Worchester, Massachusetts; "Simplicity in Form #13" awarded Second Place

Eleanor Bliss Center for the Arts at The Depot, "Fine Craft 2001," Steamboat Springs, Colorado; "Luminosity #42" awarded Honorable Mention and image used for postcard promoting show

Urban Institute for Contemporary Arts, "Collegiate Exhibition: Students + Mentors," Grand Rapids, Michigan

Muskegon Museum of Art, 73rd Muskegon Museum of Art Regional, Muskegon, Michigan

Grand Rapids Art Museum, Festival 2001 Regional Arts Competition, Grand Rapids, Michigan

Grand Valley State University Art Gallery, Bachelor of Fine Arts Exhibition, Allendale, Michigan

Society of North American Goldsmiths (SNAG), Juried National Student Slideshow, Virginia Commonwealth University, Richmond, Virginia

2000
Alder Gallery, "La Petite VIII," Coburg, Oregon

Grand Rapids Art Museum, Festival 2000 Regional Arts Competition, Grand Rapids, Michigan

Grand Valley State University, Performing Arts Center, Student Metal Exhibition, Allendale, Michigan

1997
Central Michigan University Art Gallery, Second Annual All Michigan Student Artist Competition, Mt. Pleasant, Michigan

1996
Grand Valley State University, Calder Art Center, Solo Exhibition, Allendale, Michigan

1995
Grand Valley State University, Calder Gallery, Juried Student Art Show, Allendale, Michigan

1990
Savannah College of Art and Design, "Clothesline Art Show," Madison Square, Savannah, Georgia; awarded Second Place

HONORS AND AWARDS

2005
Honorable Mention awarded to 'Luminous Relic #413', Muskegon Museum of Art, 77th Muskegon Museum of Art Regional, Muskegon, Michigan

Salhaney Family Award for Innovative Use of Old Media awarded to 'Whorled Flow #394', Grand Rapids Art Museum, Festival 2005 Regional Arts Competition, Grand Rapids, Michigan

2002
Vinecroft Studios Award granted to "Philodendron Vessel," Festival 2002 Regional Arts Competition, Grand Rapids Art Museum, Grand Rapids, Michigan

2001
Second Place awarded to "Simplicity in Form #13," "Gone Bowling," Worchester Center for the Crafts, Worchester, Massachusetts

Honorable Mention awarded to "Luminosity #42" and image used for postcard promoting show, "Fine Craft 2001," Eleanor Bliss Center for the Arts at The Depot, Steamboat Springs, Colorado

2000
Upper-class Honors Scholarship, Grand Valley State University, Allendale, Michigan

1998
Departmental Scholarship, Grand Valley State University, Allendale, Michigan Scholarship to attend Ox-Bow Summer Program, The School of the Art Institute of Chicago, Saugatuck, Michigan

1990
Outstanding Freshman Award, Savannah College of Art and Design, Savannah, Georgia

Second Place, "Clothesline Art Show," Madison Square, Savannah College of Art and Design, Savannah, Georgia

1989
Mary Rene Nellings Whelan Scholarship, Savannah College of Art and Design, Savannah, Georgia

COMMISSIONS, COLLECTIONS AND PROJECTS

2005
Wrote 2 articles on financial management for full-time artists, published in June and July issues of Art Calendar Magazine

2001
Work in the collection of Grand Valley State University, Allendale, Michigan

2000
Planters for a new facility, Herman Miller, Holland, Michigan

Sculpture replica, Advance Packaging Corporation, Grand Rapids, Michigan

1999
Restoration of work by Joseph Kinnabrew, Grand Valley State University, Allendale, Michigan

1995
Fountain ornamentation (done in collaboration with Elona VanGent), Grand Valley State University, Allendale, Michigan

1994
Restoration of "Six Lines" by George Rickey, Grand Valley State University, Allendale, Michigan

1989-present
Numerous private commissions and collections

ASSOCIATIONS

1996-present Grand Valley Artists Association
2000-present Society of North American Goldsmiths
2001-present American Craft Council