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2. By the mid-1980s Huang Yong Ping was thinking about chance and its potentially powerful role in art making. He created a series of roulette wheels, inscribed with increasingly complex systems, from trigrams to a very Dadaist compilation of seemingly random, meaningless textual snippets, which he utilized to make a group of seemingly disconnected images and objects. The small Wheel (1985) gave birth to Four Paintings Created according to Random Instructions (1985), while Large Turntable with Four Wheels (1987) generated Itchy on the Front, Numb on the Back (1987) and Manuscript Goes through the Wall (1987). Other works from this period were created by being abandoned to uncontrollable forces: Kitchen (1987), an “oil” painting made by splatters on a canvas tacked on a wall of the artist’s kitchen; Dust (1987), a roll of paper stretched out in his studio to collect whatever footprints and other dusty residue might land on it. In a rejoinder to Cage’s use of I CHING perhaps, Huang has employed the ancient method of augury throughout his work. The House of Oracles (1989–1992), one of the artist’s benchmark works, is an elaboration of the book’s extraordinary divinational potential.
 Tristan Tzara, “Manifesto on Feeble Love and Bitter Love,” trans. Ralph Manheim, in The Dada Painters and Poets: An Anthology, ed. Robert Motherwell (New York: Wittenborn, Schultz, 1951), 92.
Concepts, Influences & Motifs
House of Oracles|
Rubens's Lion Bites Rubens's Horse|