Liang Yuanwei (B.1977)
pieces of life
Made in 2006-2008
oil on canvas
28 × 24.5 cm × 14
"Art Documents", 2010, P29
"Art World", Issue 3, 2006, P89 & Illustrated
"Golden Notes", Beijing Commune, 2010, P9
Room 1904, Floor 115 - Liang Yuanwei Solo Exhibition, Boers-Li Gallery, Beijing, 2008
RMB 2,800,000 - 3,800,000
LIANG YUANWEI (B.1977)
Pieces of Life
2006 - 2008
oil on canvas
11 × 9 5/8 in. × 14
Fine Arts Literature, 2010, P29
Leap, 2006 Vol 3, P89 & plate
Golden Notes, Beijing Commune, 2010, P9
BLDG 115, RM 1904 - Liang Yuanwei Solo Exhibition, Boers - Li Gallery, Beijing, 2008
The memory of life, the scenery that stopped
—Liang Yuanwei's "Fragments of Life" series
Liang Yuanwei is one of the hottest female artists today. Her works show a strong sense of craftsmanship and design, which is mainly derived from her childhood experience of learning plane composition and preparing for the art school for arts and crafts, so as to construct her knowledge system about plane, three-dimensional and color composition, which is her unique art later. The formation of the style has laid a solid foundation and strong support. In addition, such creations are reminiscent of the design improvement movement that originated in the United Kingdom in the second half of the 19th century. Wallpaper gives it the visual beauty and sensory experience of nature, combining life with art and nature. At the same time, her paintings are also introspective, by exploring different styles such as traditional Chinese aesthetics and Western fresco art, and in Mark Rothko, Jasper Johns and Gabrielle Gabriel Orozco and other modern artistic languages are self-reflection, trying to find a balance between tradition and contemporary, East and West, and constantly reflect and promote their own creations, so as to show the daily life Poetic and harmonious, this pure natural beauty spreads to every corner of reality.
The "Fragments of Life" that was shot this time is a series of fourteen delicate and condensed miniatures, which took nearly three years before and after (2006-2008). During this period, it was an important exploration period for artists to seek breakthroughs in various styles and forms. Her works fully reflect the complex process and precise arrangement of creation. She takes the pattern of floral fabrics in daily life as the theme, draws a part every day, and does not return to the painting after the picture is dry. This lengthy and complex layer-by-layer drawing process endows the picture with a high degree of expressiveness and rich details. Since the work exceeds the regular size of the fabric, only the viewer can experience its stunning and unique impact when facing the picture in person. More importantly, this series further inspired the composition and presentation of Liang Yuanwei's subsequent large-scale works. The patterns and illustrations in it also serve as the "mother" to derive a variety of themes in the subsequent series.
These flowers are not simply reproduced on the canvas, but contain profound inner meanings under every inch of the formal appearance. She kept saying, "In the beginning I painted flowers and geometric patterns. After struggling, I chose flowers because I wanted to know how I could do the most meaningless thing down, and the seemingly meaningless thing is actually The most meaningful, because there are many misunderstandings, if you can reverse this misunderstanding and meaningless, it is equivalent to giving it a new definition.” "Flower" has always been a symbol of women, with the characteristics of soft, delicate and flashy, and its ornamental quality represents a perceptual quality. At this moment, Liang Yuanwei deliberately de-labeled it, regarded it as a daily object and a scene of life, and took the trouble to repeat and meaninglessly describe it, injecting temporality into it, and venting his innermost emotional experience. Endow it with new intrinsic value and unique qualities. Through rational brushstrokes, regular display and rigid creation process, he restrains his own feelings and emotions. Under the interweaving of sensibility and rationality, a potential conflict and visual tension are formed.
In the series of works "Fragments of Life", Liang Yuanwei repeatedly depicts different patterns, including flowers, plants and geometric shapes, such as textile fabrics or the texture of home wallpaper, with multiple perspectives, regular forms and Delicate colors are observed and expressed, refining, repeating and depicting natural objects of various shapes, while gradient, lustrous and bright colors express vivid and lively visual effects, setting off a beautiful environment full of spring. According to Liang Yuanwei, she was once influenced by the German artist Sigmar Polke's creations on finished fabrics, and she further applied and expanded them to use the special shapes and colors of frescoes and oil paintings. Attributes, decondensing and fixing, weaving and manufacturing complex and delicate formal patterns on fabric patterns. At the same time, he also draws on the spatial composition and image syntax of ancient Chinese paintings, and outlines the texture of the canvas and the changes of light and shadow with full brushstrokes. In this work, as always, she repeatedly depicts, mechanized and artificially produced to form a strong contrast with natural plants, and the long creative process implies the traces of time, giving the picture an intriguing and profound connotation and a unique artistic paradigm. . This playful way of intercepting a part of the decorative pattern symbolizes a memorable moment in life and an unforgettable memory under the passage of time, from part to part, part to whole, with meaningless repetition, The accumulation of time and the form of series reconstruct the complete life course.
Liang Yuanwei's own statement (excerpt)
The following is a description of the creative process from several aspects that I care about.
When I look at a work, I'm always unconsciously concerned about its environment. And the painting ends up hanging on the wall. This time, I wanted to make it as one piece with the wall as possible. Then it should have the same structure as the wall. A blank canvas has the same structure. That is, when I draw something on a blank canvas, I cannot destroy the original structure of the canvas.
I found that there is only one possibility: using "repeated" skeletons. That is to say, the image I draw must be repeated with a certain regularity within the scope of the canvas, which is equivalent to canceling the center of the picture, or in other words, every part must be the center. Only then can the original structure of the canvas (blank also equals no center or all centers) be preserved. When such a picture is hung on the wall, no new structure will be created, but only a partial emphasis on the wall. As for what image to repeat on this structure, I think it should be as meaningless as possible. Yes, this makes the picture a "wallpaper".
2. Subject - Light
But what I do is not a ready-made installation. My "wallpaper" has to have something irreplaceable to the ready-made (and not just the fact that it's hand-painted, which would be silly). I have fortunately crossed this question by continuing to explore the subject of "light" that I have been focusing on before.
Let's observe wallpaper in an ordinary room. A wall covered with a whole piece of wallpaper, under the light, different parts show very different colors. My approach is to use the knowledge of plane composition to make the brightness and purity of the base color and pattern vary uniformly in opposite directions, thereby creating a sense of space—that is, light.
The sense of light and space is actually the only subject of all painting beyond the conceptual level. Through the study of visual knowledge, the painter creates an optical illusion of depth and light perception on this plane, which is an illusion that solidifies the moment into eternity. The fundamental contradiction between plane and space makes the illusion of painting eternally attractive. So the "wallpaper" starts reflecting light, which is emanating from some imaginary point in space.
3. Process - Control
Now what I have to do becomes this: draw patterns small enough for the size of the picture; repeat these patterns strictly with a certain regularity; change colors uniformly in a certain direction within the picture (currently all from top to bottom).
These several tasks must be done rigorously at the same time, otherwise the sense of light and depth cannot be clearly expressed. Because this optical illusion is very subtle, it is necessary to cancel the particularity of the individuals in the picture by maintaining the sequence of patterns and uniform color changes, so as to maintain the overall uniform structure, so that the viewer can pay more attention to it.
Four, fun - exquisite
I have not been able to fully adapt to this process, and I still find it quite difficult. This makes me feel that this batch of works is more of a performance work. These are some of my thoughts while creating "Snippets of Life". In addition to this, my attempts on the texture of the picture are relatively superficial things. Therefore no description is given. My ideal is to create works that are as breathtaking as landscapes without a word. Those trees, flowers, insects, animals in the landscape, they grow and die so carefully, are there and are repeatedly missed by us who are not in the right mood. Life and scenery are the same. What I have done so far is just a simple understanding and imitation of them. I don't know where I can go. To this day, my creative process and methods are closely related to my personal understanding of the world. My work and my personal life are almost indistinguishable from each other, and life cannot be lived by others.
As early as the 1970s, art historian Linda Nochlin in "Why There Are No Great Female Artists" proposed the unfair treatment of women in the art world and their difficult situation, reexamining the role of women in Great achievement and important position in art history and even society. Subsequently, the art theorist Griselda Pollock reintroduced female artists into the writing category of art and cultural history. Whether it is from Knocklin to Pollock, or the Western feminist movement to today's "Metoo" movement, women at all levels are trying to get rid of the restrictions and discrimination brought about by traditional culture and biological structure, and are eager for fairness and justice. treat. In various fields at present, there is no shortage of outstanding female figures, and even in the art market in recent years, the auction records set by female artists should not be underestimated. Therefore, this theme mainly focuses on the works of more than ten female artists. They have always adhered to their own creative attitudes and the unique charm of their works, and they have radiated dazzling light with the power of women.
1. Self-construction of fragmented images
Fragmented image language is common in artistic creation, and many artists try to establish their own artistic paradigm through deconstruction and reorganization. Liang Yuanwei's paintings have both the rhythm of design and the beauty of elegance. In the "Fragments of Life" (Lot.2127) series of works, she not only draws on the special way of Western frescoes, but also uses the spatial composition of ancient Chinese paintings. With the grammar of images, by repeatedly depicting the texture and light and shadow changes of flowers, plants and geometric shapes, and injecting traces of time, fragmented images are pieced together into a complete life imprint and life course.
Chen Ke's creative theme often revolves around the scenes of daily life and the retrospect of childhood memories. With a cartoon artistic image and an autobiographical visual language, he projects the mental state and emotional experience of his contemporaries. "Fountain" (Lot.2131) still emphasizes the multiple oppression and sad life encounters with alien cartoon images, so as to find the belonging of the soul and the sustenance of the spirit. "A Room with a View" (Lot. 2133) uses several broken white stones and a fairy tale-like ethereal mood, showing the contradiction between a dreamy situation and cruel reality.
Kate Bernhardt is good at piecing together seemingly unrelated things in life, trying to explore the cultural connotations and social metaphors behind the images while exploring the daily scenes of contemporary society. The painting "Untitled" (Lot.2136) depicts all kinds of daily necessities in life, emphasizing the unique attributes of objects to reflect the negative impact of consumerism.
2. Visual metaphors for subcultural spectacles
In the context of the diversification of contemporary art, the exploration of the form of subculture has already extended to a broader field. Song Kun's paintings are established between tradition and contemporary, culture and subculture, religion and science, and are shaped and transformed with the conceptual language of pan-Buddhism, reflecting the alternative wonders of social life and empirical cognition. "April 1" Eye Diary No.1-4 (Lot.2128) reflects the inner world through magnified eyes, dissolves the self-boundary of the subject from the perspective of staring and being stared at, and creates an interesting visual space . "He Said He Liked Rabbits" (Lot. 2129) uses the expression of biological evolution to challenge the way of men's viewing and criticize gender stereotypes. In "Jellyfish" (Lot.2130), the floating and agile jellyfish have a very futuristic and mechanical sense. While trying to trace and recognize ancient organisms, it can also be regarded as a visual spectacle in the post-human society, as well as a visual spectacle in the post-human society. The shaping and imagining of Borg's image.
Japanese artist Aya Takano uses androgynous female images to establish a visual discourse that represents the power of women. "Rongo Rongo, Awakening from Oblivion" (Lot.2134) expresses the harmonious scene of the city and the beach in the form of cartoon art, expressing the beautiful yearning and eternal pursuit of peace amid the hidden war crisis and social harm.
American artist Loy Hollowell explores topics such as sex, pregnancy, childbirth and human anatomy in an autobiographical way, connecting his body with the natural world and creating a highly personal and symbolic art style . "Brown and Green Licking" (Lot.2135) presents a visual pleasure of continuous vibration through the "transcendental" psychedelic space, awakening people's inner instinctual desire and transcendence, from the inside out Embody the brilliance of motherhood and spiritual experience.
Kong Lingnan's creations originate from nature, explore the inner nature of nature, the universe and human beings, and conduct self-contemplation in the ever-changing world. "Wandering Peninsula II" (Lot.2140) depicts the outlines of mountains, oceans and islands with simple lines, constructing a natural landscape with a sense of formal beauty, prompting people to constantly think about how human beings can coexist in harmony with nature.
Liu Tianlian's paintings break through the original boundaries of fine brushwork, leading Chinese painting to form a new visual style in terms of content, color, and layout. "...Different from what we thought" (Lot. 2142) combines traditional flower-and-bird meticulous brushwork with Western abstract graphics, making the painting more experimental and innovative.
3. Alternative interpretations of daily life
In the reproduction of daily life, the artist often integrates his own special experience and emotional experience to create a personal symbolic art style. Inspired by misunderstandings arising from cultural exchanges, Japanese artist Etsu Egami takes portraiture to a whole new dimension with his transnational study experience. "Rainbow-2021-T-14" (Lot.2137) symbolizes the era of pluralistic coexistence with rainbow-like characters, reflecting the important issue of how people can live in harmony amid social, cultural and political ruptures. "Passing By Confusion" (Lot. 2138) reflects the ambiguity of communication and the sense of distance in interpersonal communication with people's unpredictable faces, reflecting the general scene of contemporary society. "JoJ-2" (Lot.2139) conveys the myths and doubts caused by misreading with a simple and honest character, reflecting the emotional projection of the self and the other in a different cultural situation.
Liu Bing also draws inspiration from scenes of daily life and memories of self-experience. In "Back to My Childhood" (Lot. 2141), the rural life in childhood memories is reproduced through vivid pictures. Ma Wenting recorded natural and social landscapes through her paintings, while "To Alice One" (Lot. 2143) showed strong inner emotions and perceptual cognitions with ordinary life scenes.
To sum up, these works of art with different styles have constructed a unique art form, showing the delicate and soft beauty of women, but also highlighting their rich and sensitive inner feelings, and gradually condensed into a huge force, bringing the art world. Come to a new visual impact and a new experience.