Ouyang Chun b.1974
Made in 2007
180 x 500cm
oil on canvas
Inscription: Ouyang Chun 2007 (back of painting)
Published: "Wang: Ouyang Chun", published by Timezone 8, 2010, pp. 12-13
Exhibition "The King", Collector's Museum, Berlin, Germany, 2010; "The King", Austrian National Gallery, Vienna, 2011
Source German ME Collection
"We are armed with burning patience and arrive at the glorious town with dawn." This Rimbaud poem was the title of Ouyang Chun's solo exhibition at Yanhuang Art Museum, but it is also a true portrayal of Ouyang Chun's life and painting process.
Ouyang Chun was born in Beijing in 1974 and graduated from the Department of Fine Arts Education of Xi'an Academy of Fine Arts in 1995. His self-art experience outside of traditional academic education has created his independent and varied creativity. His works are simple and simple, the vocabulary is straightforward, the composition is neat with a little space confusion, showing more traces of self-training, and the creative theme is a mixture of real life and wild imagination.
As one of the most representative figures among the Chinese artists of the 1970s, Ouyang Chun's works reveal a contemporaneity that is unique to him. The medium of Ouyang Chun's works involves painting, installation and sculpture. The subject matter of the creation gradually returns from the early fairy tale world to his own experience, alternately juxtaposing the fictional and real worlds, bringing wonderful landscapes and images through simple and vigorous brushstrokes.
"Dynasty" was created in 2008. It has the carefree graffiti style of the artist's early childhood, typical of heavy paint and high-purity colors. The golden color and the surrounding symbolic animals allude to the noble status of the central figure. Fragmented color blocks shimmer like fireworks against the surrounding black background. The figure in the center of the picture is drifting away from the vortex outlined by the ochre yellow in two completely different directions, while the figure on the right has an obviously mutilated body and dull colors compared to the figure on the left, which makes the described content have a deeper meaning. . As Ouyang Chun wrote, "The king is an infinitely large and infinitely small concept. The king can represent a powerful king or an ant." The king is an eternal symbol of victory and defeat, possession of power and loss of power. At this moment, Ouyang Chun uses strong and dazzling colors and images to construct a scene full of magic, giving eternal things the meaning of the alternation of old and new.
"Dynasty" is one of the representative works of Ouyang Chun's "King" series. From 2005 to 2009, Ouyang Chun created the most important series of works in his career so far, "King", and in 2010 and 2011, he held large-scale solo exhibitions of the same name at the Berlin Collector's Museum and the Austrian National Gallery. system display. The appearance of this series of unique works not only proves the artist's development of visual language and gorgeous painting expression, but also reflects the artist's deepening of thought.
The entire "King" series depicts different episodes of the king's life, including his victories and defeats, his love and his death. Through the depiction and description of the king's life, the experience and circumstances of his life from light to darkness are reflected, and the self-course is recorded through graffiti-style expression, in order to remember and reflect on the present forever. Ouyang Chun simplifies the complex image and story development into simple symbolic symbols in the eyes of children, and connects the details into the ups and downs of fairy tales and fables, interpreting each interesting and vivid story for the audience.
Ouyang Chun uses an innocent and childlike artistic style to explore the many contradictions and inconsistencies in contemporary Chinese society and culture, and tells various stories of the complicated world. He once said: "My paintings are relatively primitive, and I don't know if they are contemporary." The two seemingly contradictory concepts reflect his pursuit of understanding and challenging the tradition to a certain extent, trying to adopt a very simple expression. method, returning to an inner view, rather than catering to external visual values. The imaginary world of the still-childish innocence in "Dynasty" directly stirs the viewer's heart, indirectly proving Ouyang Chun's tireless pursuit of another kind of purity and innocence in aesthetics.