I think gathering biographical information for making a painting is quite a fluid process.I often use biography as a resource to connect me to a specific moment in time which in turn enables me to a achieve a certain mood or atmosphere within my work.I always approach biographical literature as fictional so there is space for painterly invention and re-interpretation of a specific personal history.I am not really that interested in using biographical facts to transcribe a whole person's life in images,rather I consider it more as a footnote,a reference,where small interwoven and interconnected events and quotations can act as backdrops and poetic voices in an abstract narrative.It also allows me to re-imagine characters that have been shaped and described by an author. Sometimes, an artwork, a piece of literature or a found image will lead to me thinking about a person as protagonist in a painting and reading biographies allows me to envisage an evocative and atmospheric time and place.
Biographical information
I think about portraiture not in a traditional sense of attempting to create a likeness but instead, wanted to re-imagine and pay tribute to these human,portraying them as actors,modernist performers,and non-conformist poets.They became protagonists in my work,connected by their unconventional beliefs and manners,and each portrait constructed as if in conversation with another.I have often returned to certain characters such as Gideon Rubin，Mamma Andersson， Salmantoor，Audrew Cranston in my work.I am drawn to the charisma and intensity of these individuals and portraits serve to evoke an atmosphere of a time,place,or movement.I found this period in our history pertinent,as it is a time that is both close and distant enough in our collective memory to still resonate with the present and provide a moment of self-reflection.
Me: I am fascinated by human whose images are iconic
and what that feels like-the way that everyone thinks they know them and has a vested interest
My preoccupation with the fignes I choose to paint is with the assumption that they have a clear sense of their identity,as artists and as muses they were able to direct how they chose to represent themselves through art and literature.My paintings are usually never a portrayal of one individual,they are composites and interpretations of redeemed biographical histories and fictions. This approach to portraiture enables me to conjure up and merge images and to forge an emotional connection to a time and place.The familiarity of this type of genre painting also allows me the freedom to interpret and to simply use this form as an armature onto which,through the act of painting,I can build and describe specific evocative and emotive qualities.
Portraiture
When I first painted, I created a lot of landscape paintings. Even though I began to paint concrete paintings later, I still painted landscapes. In the past two years, I began to create a kind of landscape painting called "environmental style". Some of them are larger and seem to surround people. This time, unit1 is the representative of this type. In the painting, the specific scenery is abstracted into lines and colors, and the light that enters the field of vision in a flash and the external concrete world are presented on the canvas.
"I went to a modern architecture school at first, and was deeply influenced by Bauhaus, Blake and Picasso. When I returned to my hometown Beijing from Shanghai, I wanted to do something far away from the city and paint something that looked new, so I resorted to the painting method of 'painting'. I was interested in the way Jackson Pollock painted and Bonnard painted I am very interested in the use of color, which makes me enter the field of landscape painting. "
"I didn't know at that time whether these paintings were good or not, but I knew they were not traditional, which was very important. I wanted to stay away from the content, or spread the content. My vocabulary of painting was abstract, and my basic goal was to create a seemingly realistic scene." The sun was warm, the wind was soft, and the fireworks, beaches, mountains, and characters at night naturally integrated into a scene, and became a state and tense. A style between abstract and concrete, which is probably the definition that most audiences will give to my creation. For me, the focus is not abstract or concrete. The surface of painting is his focus. I think "painting must strive to capture the most mysterious things, and the most mysterious is the appearance."
Between abstract and realistic
For me all images are like small echoes,that resonate backwards and forwards to the past and present.I like the idea of choosing images that echo one another and attempt to compress stories, voices, and emotional labour into a reconfigured form.I am more intrigued by a poetic dreamlike space that can freely exist in painting without question.I am not striving for any kind of literal narrative.Instead,I am drawn to ambiguity.For me,a successful image is recognisable,but unravels itself through the painted surface.It allows us to connect emotionally with the visceral and calligraphic qualities of the brush mark.
Echoes
My inspirations usually come from my original photos, observations and reflections on life during my travelling.movie pictures
I am interested in visualizing landscape with memory, thought, and feelings
Nature
Symbolic relations
Symbolism and the Cultural Landscape. My work delves into the relationship between landscape and symbols. I think scenery is humality. I usually choose scenery with a very clear purpose before I can start painting. Therefore, I need to find my visual counterpart in their appearance and resonate with me.
Through these patterns and colours, I try to achieve the sense of balance: of ease and comfort; of elegance and geometric beauty to expand the meaning of the picture. Sometimes, in my scenery, something reminds people of people themselves, loosely connecting the abstract to reality.
