Led by Henri Matisse, Fauvism was an artistic movement characterised by wild brushstrokes, bold strident colours and flat composition in paintings, which deviated away from the naturalistic approach retained by previous art movements. Being heavily criticised at first, the unconventional movement slowly finds its place in the western art world and still a highly admired and respected movement today. Fauvism paved ways towards the development of Modernism and Abstract Expressionism, which later gave rise to the emergence of the Colour Field movement. Colour field painters place less emphasis on strokes and lines, filling the canvas with large field of flat, solid colours. The colour is the subject, and the only language to convey thoughts and emotion in these paintings.

Graduated from France, Ng Hon Loong's works were deeply influenced by these movements. His immense talent and style, however, was not well received by our society back in those days who fell behind in knowledge and ability to understand and appreciate art. The reality and rejection made him struggled to find confidence and sense of direction in life. Luckily, with a positive change in his life and environment these recent years, he gradually picks up from where he left off.

In this exhibition, viewers can now have the chance to enjoy his works of this wild yet captivating style. Not only that, he managed to integrate Chinese ink painting techniques into his creation. His works today incorporates the concept of Yin and Yang, the harmonious balance westerners strived hard to achieve in arts. He embraced the idea of "emptiness" to create space and dimension, and uses colour contrasts to structure his works and strengthen the expression of colours. Bit by bit, he eventually found his way into his own painting style and philosophy out of these western art movements.

1905年，法国巴黎发生了一件轰动艺术界的大事。当时已经小有名气的画家亨利马谛斯及友人，在一间画廊展示了几幅特别的作品。作品色彩及绘画技巧，明显的 “乖离” 了从文艺复兴开始至当时的写实派以及印象派及后印象派的遵从自然法规的绘画与用彩方式。作品风格，用色大胆鲜明、更因用于表达激动的情绪而挥现毫无规则的笔触与图形，构图平扁，装设性强，并且远离自然色彩的应用法。此外，作品的构图没有传统的单一的焦点，而是同时出现许多焦点在一幅作品上。为此惨遭当时的艺术评论家所激烈谴责。有一位评论家说，这些作品就如把一壶颜色直接倒泼在观众的脸上，并且把这些作品冠上一个轻蔑名词，“野兽派 (Fauvism)”。

可是，他们或许没有想到，此后这个野兽派的画风和理念，一直影响到后来的现代主义画风及抽象派的画风，并且至今都没有停止它的威力，尤其在美国，更是 被广泛的采用与接纳并引以为傲的风格。它所标榜的“艺术是个人情绪与思想通过色彩的应用所展现的创作语言“，是非常符合美国人所追求的坦率与直接的性格。在众多现代主义及抽象派主义当中，色坪作品 (Colour Field Painting) 就是一个独特且高深的艺术追求与实现的技法与绘画风格。它在真正成型的年代，是在大约1940年至1950年。它从野兽派那种坦率激动的情绪线条笔触，逐渐转型为纯粹的色彩语言。它不再强调传统的物象、形象，色彩就是唯一的”物象与形象“，不然就是尽量简单与简约的构图形象，追求那种色彩就是作品唯一的主角，色彩就是思想与情绪的唯一的表达语言。在此种理念之下，作品构图一般皆是如草坪般平面、色彩布满整个画面。色彩尽量单一，尽可能放弃对笔触与线条的注重，并且以能产生和谐与平衡的目的来应用它们。

而吴汉龙，在1990年到法国留学之后，于1992年回国，所发挥出来的绘画能力及创造出来的作品，就是深受西方这两大派系的影响。可惜的是，沙漠文化的土壤，接受不到这个才子的才华。方方面面的现实否定与打击让他对自己失去了信心并对生命产生了迷惑。精神与心理上的伤害让他生病并为此消沉许久。直到近几年，得到了护理与环境的正面改变，他才在正式投入创作之中。

在这项个展之中，观众可以观赏到他这一系列在西方已经得到崇高地位的作品风格，不只如此，他也成功的把中国水墨绘画的理念联融在他的创作里。西方所追求的和谐平衡，就是他现在所发挥在作品中的”阴阳“之宇宙平衡与相对相辅的理念。他会用”空“来创造空间与简单的立体感，也应用相对色来创造画面的构图及加强色彩的语言表达。从西方的原体派系，他逐渐寻找出属于自己的风格与理念。这一路走来不易！假如您能珍惜，就来观赏这些作品吧！