PREFACE
Article: Wang Lin
The scenery outside the window is far from the scenery in memory, and the wildly growing man-made objects are integrated with nature. How long have we not had a completely relaxing outing, but instead looked at the piled-up express boxes at home to satisfy our material needs. Spiritual desires are quickly being filled by consumerism in various electronic interfaces; especially in the past few years when the epidemic has brought the world to a standstill, electronic screens have become more prominent than ever before as the first place for us to obtain visual resources and information. a window.
Painting is the oldest form of visual art that stops time and transcends it. Just because it has such a long history, it is very difficult to talk about the subversion and creation of painting in today's rich visual images. How to use the individualized perspective of contemporary people to understand the relationship between painting and image production, painting and art history, painting and social and cultural changes, and tell it in a unique and highly recognizable language; One of the directions to explore.
The artist's creation comes from the passion and unsatisfied desire that has nowhere to rest. In many cases, the act of painting, which is constantly scratching and smearing, brings joy and pleasure to the artist. The first essence of many artists' painting is to satisfy themselves. An important way to satisfy oneself in painting is to form a personal painting language. The formation of painting language is related to the individual artist's aesthetic preference, the art history background he is interested in, the individual's growth environment and experience, and moreover, it comes from the culture he is interested in in this era. In most paintings, the artist will build a narrative text structure; and an extreme trend of narrative weakening in painting is that the artist chooses to depict a certain object. Expressive objects are actually a way of expressing painting language.
The mountain presents different scenery in the alternation of the four seasons, but remains motionless in the change of dynasties and the transformation of science and technology. Green and light crimson landscapes, boneless and various textures, impressionism, expressionism... Many painters have used different techniques and powerful brushstrokes to imitate nature to give it a more vivid posture. Guo Haiqiang regards the experience of sculpture as the basis of his painting visual modeling, breaking the conventional painting language to present the state of the mountain in his personal understanding. The mountains he painted, although the year, month and day are accurately marked in the title of each painting, seem to have traveled through ancient and modern times.
Closer to the scene, the description of nature in the Gewu style of work falls into a more specific and formal tree or a stone... In Hao Jiantao's work, the elements and images in traditional Chinese painting are closely related to what he feels. A certain type of object worth pondering in the interesting life occupies the main position of the picture. His pictures are very delicate, whether it is from the processing of the background color or the superimposition of two or three objects in the subject; to be more precise, Hao Jiantao's depiction of objects is more about image processing. Shaping new forms and colors builds the final picture.
Oriental aesthetics is the temperament in the bones of many artists; and in the management of such painting themes, contemporary people often carry too much burden. Lou Shenyi resolutely puts it aside, and chooses rich, direct, and bright colors as his unique artistic language to express different themes. In his works, colorful colors are dominant, supplemented by accurate and smooth lines. This painting language endows the picture with a relaxed and playful state; and gives the viewer a strong visual sensory impact.
The texture of painting is one of the reasons why painting cannot be replaced by simple electronic images. In Li Yiwen's recent paintings, he repeatedly reproduces the screen texture of various artificial objects. The texture of this painting is the second-hand electronic visual experience of man-made objects unique to modern people. He intentionally uses various metallic colors to form a paradox: the color in the picture that simulates the texture of the screen can only be viewed with the naked eye on the spot, but the details of the photos of the work cannot be seen clearly when viewed on the electronic display.
Enter the dialogue between matter and spirit. Depictions of artifacts may eventually lead to concerns about consumerism and, in reality, commodity fetishism. Chen Wenbo's creations have always been good at using various highlights and lines to express the materialistic and bizarre social reality behind various artificial objects. Most of the man-made objects he chooses have a glamorous appearance, but at the same time have the texture of cheap items; presenting the complex reality and false illusions of this era.
From a blank canvas to a painting painted in a faint blue, more blank paper appeared in the painting; so far, the thinking about the concept of painting is placed in front of everyone. Yang Xinjia's paintings always choose images of objects with similar forms, which make people associate, but do not form a specific narrative syntax. The concept in painting is like the starry sky in the dark night, which should be cherished but not fall into the abyss of meaning. Just as the narration of words only outlines the outline of a painting, the unique unspeakable part of painting can only be handed over to the viewer for resolution.
If it is said that "the world of aesthetics is the world of fetishism", then the acquisition of objects and the reflection of fetishism are particularly important in contemporary paintings. To sum up, perhaps the painting language worth exploring at the moment is a circular chain structure formed by: brushstroke image-aesthetic tendency-color view-realistic thinking-implicit concept. Whether in life or in painting, we are always used to looking at the brightest ones, and perhaps those that are hidden are more worth pondering.