2013, The Logic of Feeling, Beijing Seasons Gallery
Why do we paint? The feeling is what is drawn!
When the ancients began to paint and then created symbolic hieroglyphs, painting transcended graphic and narrative, and switched to the nervous system at the level of perception, giving the brain the ability to think logically. Words and language themselves are the most universal symbol system, while painting expresses the perceptible qualities of matter and things.
The logic of feeling is a light, an inner need, that can help us wander in this chaotic world. Roland Barthes' conclusion on visual image is; I see it, feel it, so I pay attention, I observe, and I think.
The works of the four artists are exhibited in the Seasonal Gallery this time, expressing their own feelings of ease, but they have never been satisfied with just the “medium” tool of paintbrush. Their works present a multi-tactile vision.
The newly-built painting is a strong pure visual space and a world of manual painting behavior. The tactile color directly uses the palette knife to deconstruct the visualization in the heavy brushstrokes, transforming a bas-relief painting between sculpture and painting. His painting is to paint objects between things. The series of "Still Life" series of paintings, the brushstrokes stir up the soft body, the gesture is rich and continuous movement, trying to escape a colorless band of light, beautiful and disappearing, the body stops at the zero point of time. The "Metropolis" series of triptych, "South China Sea-White Tiger", implying that the eternal catastrophe merges in the melody of power ups and downs, allowing the body to pass through the apex of a grand space and time convergence, and the vision falls from the image coding. Get the rhythm of mental resonance and witness the sunflower planted by Stravinsky in the Rite of Spring movement in a lonely valley in prehistoric times...
The "color point doctrine" defines Tianlu's paintings as different from the French painter Seurat's "scientific analysis" painting for the practice of light painting. Tianlu's subjective color points are fully covered, breaking with the easel painting, diffracting from the frame of the picture frame is a fictional ridiculous, weird, and bizarre exotic world, maintaining precise control of the graphics and mathematical prudence. It is just black, white, and gray dots that mobilize our various sensory logic-life entrusted to a suitcase, ghostly geometric empty city, an idealized grand building swallowed by vegetation, the picture is filled with a kind of loneliness , Gloomy, empty, cold violence that will be ruthlessly destroyed.
During this time, He Jia stopped his painting patent for cartoon images, and carried out a new kind of painting experiment with the circular "PV panel". I saw him painting transparent marble-like "painting graffiti". Unfortunately, Beijing cannot paint graffiti on the streets and alleys like Paris. In Paris, a mark or graffiti can be painted on the wall of an alley where a celebrity lived. It can be spray painted on the truck to patrol everywhere, and the graffiti can be hung on the museum exhibition. HeJia is trying to turn himself into a "psychic". His "painting and graffiti" pictures are beautiful and mysterious, full of mythological illusions of "drunken gold fans, beautiful flowers, beautiful water and moon". Perhaps he wants to insinuate the corrupt luxury of the vanity fair in Kyoto. All of them are wearing happiness masks bluffing.
LanYi is brillant expression of emotions and admires the style of Tang and Song dynasties, borrowing the format of ancient Chinese paintings, flowers, birds, fish and insects, complicated silk threads, and flat painted colors, adding the gorgeous brilliance of Tang Dynasty paintings, gold, emerald, and gems. Blue, scarlet, rouge... He tried to keep the eastern boundary, and he leaned happily towards the style of Byzantine mosaic painting. He seems to want to open up a new, artificially recreated ideal Chinese-style landscape scenery, let the work induce the smell of drugs, and start a self-obsessed wandering.
The works of the four artists presented in this exhibition do not want you to go straight to the subject. They have rich experience in artistic practice. They imagine that the essence of things is built in the mind before painting. The image and visualization are very opposed to each other. The complex relationship is shattered, and the visually impossible image is drawn in the act of painting, so that the multiplicity reflected in the typical analogous art of painting allows you to see the spiritual "face of the times".
To escape the trivialities and clichés in life, we can only face the canvas! It costs 2.5 billion US dollars—it takes the courage of the “Curiosity” expedition vehicle launched to Mars to participate in the great and important contemporary events.
The artist drew the thought out. The important thing is; your paralyzed sensory potential can save yourself by stepping out of the canvas.