With colour and brushstrokes creating dynamic expressions, Anita Wong (1947-2007) carved a path in the art world that bridged the East and West, tradition and modernity.

Sadly, she passed away early due to illness, and her eldest son, Dr. Winston Wong Jr, founded the “Anita Wong Foundation” in 2011. He also established the “Anita Wong Painting Creation Award” at the National Taiwan University of Arts, where she had taught. This year marks the 10th anniversary of Anita Wong’s passing, and to commemorate this, a special “10 Years of Remembrance” retrospective exhibition and the joint exhibition of the Painting Creation Award will be held from now until June 19 at the National Dr. Sun Yat-sen Memorial Hall.

As the “eldest daughter-in-law of Wang Yung-Ching,” Anita Wong once withdrew from her artistic career to work in the family business. She only held one solo exhibition during her life in Taiwan, but her artistic depth is still widely acknowledged. The curator, Dr. Ye Guo-Shin, founder of the Mo Hai Lou International Art Research Group, stated that the exhibition has two main themes: the retrospective of Anita Wong’s works, including Western paintings and calligraphy, as well as a selection of 21 award-winning works from the “Anita wong Painting Creation Award” from its first to fourth editions.

Anita Wong’s husband, Dr. Winston Wong, and son, Dr. Winston Wong Jr, both attended the opening ceremony yesterday. Dr. Winston Wong said, “These works show her cultivation. For example, the piece ‘What Cannot Be Gained, Let Go’ represents an extraordinary life insight. Many of her later works reflect the ‘Buddhist’ realm. I believe that through her art, and because of these paintings and calligraphy, her life ultimately found fulfillment.” Dr. Ye Guo-Shin, a long-time friend of Dr. Winston Wong Jr, who always referred to Anita Wong as “Wang Mama,” also shared, “Wang Mama once told me, ‘When you return from studying abroad, help me hold an exhibition.’ Though the promise was fulfilled on her 10th anniversary, I am still pleased to have this exhibition help systematically and logically re-establish her often-overlooked position in Taiwan’s art history.”

(Liberty Times, reported by Yang Mingyi / Taipei)