Huang Yuxing (B.1975) paradise Made in 2015 acrylic on canvas 370 × 545 cm Signed: HUANG YUXING 2015 Published: Alluvial - Huang Yuxing 2005 - 2015, Shanghai Minsheng Art Museum, Shanghai, 2015 Exhibition: Alluvial - Huang Yuxing 2005 - 2015, Shanghai Minsheng Art Museum, Shanghai, 2015 "These ovals are human faces, sometimes like vortexes, sometimes like a loudspeaker, and sometimes like bubbles, they are always present in the picture in different ways, and it can be said that it is an important part of the work. The clues. Whether it is the relatively figurative paintings before or the relatively abstract paintings now, I hope I don’t have to take these constraints into account in the future. I can disrupt all the boundaries of all these, and then I will recombine them , including all these colors that appear in my pictorial thread, can be used very freely in my future work; it is a very perfect state that I will ultimately need.” —Huang Yuxing Visual construction in virtual space —Huang Yuxing’s artistic practice Although regarded as an important member of the "Cartoon Generation", Huang Yuxing has never limited his creation to a certain art system. In his paintings, bright and bright colors, repeated brush strokes and full-scale geometric compositions constitute the most iconic visual language in his artistic creation. And those elements, such as bushes, rivers, bubbles, vortexes, which symbolize natural things, always reflect his attention and thinking on major issues such as man and nature, time and life, self and the world, and he has a microscopic perspective. The essence of things gives the moment an eternal form, and brings infinite imagination to reality, creating an art form with visual tension and multiple meanings, thus creating a complex and dazzling fantasy world. Huang Yuxing's artistic style is not achieved overnight, but developed through different stages of exploration. In his early works, although the pictures have always been created around the motif of man and nature, his use of color is particularly gloomy, deep and dignified. The fragility of life is in sharp contrast with the natural scene, projecting the extremes he faces. Dark moments and repressed emotional experiences. At the same time, based on the appropriation of ready-made images and the fusion of natural things, he created grand scenes with great abstract characteristics and structuralist tendencies, such as the series "Circle Theater", "Colosseum", "Arena" and "Factory". work. Countless geometric shapes overlap each other, and colorful colors are gradually injected into the picture, which is psychedelic and fragile like foam. Huang Yuxing examines himself and the world through the cutting and reorganization of the pictures, forming an architectural space with a magical atmosphere, conveying the sadness beneath the splendid appearance. This transformation is as he put it, "That dark time gave me a more tangible understanding of the concepts of light, life, and hope, and the resolution went from abstract to more real and deep, which made me start to re-open. Look at yourself, and slowly release the suppressed desire for color into the picture. Once the desire and understanding of color that has been held back for a long time burst out, it will be more intense and gorgeous than before.” Subsequently, this kind of thinking about nature, life and time also led to the birth of the series "River", "Bubble" and "Ground of Trees", which continued to pay attention to and think about life issues in different forms. Rivers are carriers of time, life and history, and are always in an eternally flowing and irreversible state; while bubbles have the characteristics of ephemeral and disillusionment, and they must face the consequences of brokenness in the moment of revealing beauty, emphasizing life. The fragility and unrest and the unpredictable variables in the world; the bushes are a metaphor for the life course of human beings, and the alienated bushes symbolize the stages and survival attitudes from birth to death. In addition, Huang Yuxing also combined natural images such as rivers, trees, and air bubbles with traditional Chinese painting language, trying to connect and dialogue with the world and art forms representing oriental elements, so as to construct a poetic space with multiple meanings and rich connotations. This "Paradise" can be regarded as a typical work of Huang Yuxing's turn to color diversity. The work takes the inner tension between "the eternal reincarnation of time" and "the complexity of human nature" as the spiritual core. The artist uses history as a mirror to construct a more universal background for our viewing and understanding. This construction method In the works such as "Paradise", "The Law Enforcer's Club" and "The New World Hits the Proletariat" and other works, they try to describe and discuss a "human condition" that is far more chaotic and contradictory than the appearance. . In this work, the picture is formed by overlapping and overlapping geometric shapes such as cones, cuboids, ellipsoids, etc., to construct a virtual architectural scene. The dazzling, exaggerated use of brushstrokes is impressive, creating a visually striking art form. People can't see the "paradise" directly, but associate it with color, geometry and outline structure, which makes people think of Wassily Kandinsky's works of art. As a pioneer of abstract art, Kandinsky's creations are mainly composed of point, line and surface structures, and the figurative and descriptive are eliminated in the picture. The free arrangement and combination of mediums creates masterpieces of painting with inherent tension and visual conflict, emphasizing an art form rich in spiritual core. Similarly, Huang Yuxing's paintings also show a strong sense of abstraction. The patterns of various shapes produce visual changes with flowing lines and bright colors, while fluorescent colors and acrylic paints, which represent industrial characteristics, collide and merge with each other and become fragmented. The images are interwoven and reshaped into bizarre social landscapes. He explores the relationship between himself and the external society with a creative technique that ranges between abstract and figurative, real and virtual, unfamiliar and familiar, as well as de-theme and imagery. In essence, these virtual architectural forms transcend the limitations of time and space, forming a blurred mirror world, referring to various traps existing in contemporary society, reminding people to always pay attention and be vigilant. It can be seen that Huang Yuxing expresses his unique views on the world in a dazzling artistic form, thereby releasing and bursting out the complicated thoughts suppressed in his heart, reflecting the humanistic philosophy and life whispers under the changing times.