Pin Hsun Hsiang

Pin Hsun Hsiang

Born in Shanghai, China, 1950
Lives and works in Sydney

Pin Hsun Hsiang
Memory of Africa,2019
Spray on metalgranite

Pin Hsun Hsiang was born in Shanghai, China and comes from a background in advertising and traditional watercolour painting. Upon migration to Sydney Australia in 1988, Pin gained additional skills through working on antique restoration and turned his focus onto the sculpture.

Over the past 12 years, Pin has created award-winning works, been selected into many private collections and exhibits regularly as a member of The Sculptors Society.

“Pin Hsun Hsiang’s abstraction of a “Naughty Girl 5” is a both comedic and energetic description of a girl’s wild tantrum. The shape of a roughly honed piece of wood indicates that the girl is probably going through irrepressible teenage phase. Lightly polished areas of the wood are highlighted and in turn it is repeatedly wrapped around with a long piece of chain. Metal wire suggests hair that scatters in every direction with quick movements of her head. We get the feeling that repeatedly she gets into trouble struggling to free herself from the typical frustrations of being her age. This sculpture has integrity, contains an imaginative use of materials and is a well resolved work.” – Angela Morrell, Darling Park Sculpture Exhibition Review, 2009

“I felt Pin Hsun Hsiang’s work was worthy of note and in particular “Back”. Again it was the simplicity of the form that attracted my attention. I acknowledge a glimpse towards Mannerism and more recently Modigliani and his elongated forms, but the artist has made this form his own. His careful handling of the timber, the slight bleaching and the minimal markings makes this a contemplative work.” – Sally Downer, Darling Park Sculpture Exhibition Judge, August 2005

“Infinity is described in mathematical systems as the number 8 on its side. The medieval symbol for infinity is a snake biting its tail or an empty circle. It is easy to have a preference for Hsun Hsiang’s symbol for Infinity, which is organic and alive and singular in interpretation. It has a seductive movement, which is enhanced, by the placement of a strongly contrasting orange ball that appears to exaggerate the suggested motion within the perfect whiteness of its principle form.” – Angela Morrell, Darling Park Sculpture Exhibition Review, 2010