Jia Aili (B.1979)
Made in 2009
oil on canvas
110 × 200 cm × 2
"JAL Jia Aili", Gu Gongguan Contemporary Art Co., Ltd., 2009
JAL - Jia Aili Oil Painting Exhibition, Gu Mansion Gallery, Taipei, 2009
RMB 7,800,000 - 9,800,000
JIA AILI (B.1979)
Van ( Diptych )
oil on canvas
43 1/4 × 78 3/4 in. × 2
Initialled in English and dated 2009
Jia Aili, Michael Ku Gallery, 2009
JAL - Jia Aili Oil Painting Exhibition, Michael Ku Gallery, Taipei, 2009
image table of creative ideas
imagist expression of creative conceptda
Throughout the development of Chinese art, every era is full of talented people. With their own maverick attitude, unconventional thinking and original creativity, they have created works of art with the style and social style of the times. In the current art development It forms a backbone that cannot be ignored, and even leads a generation of style trends and artistic trends. The theme of this time is the cutting edge of the times, focusing on displaying the artistic works of more than 20 contemporary young artists. They use their keen perception to think about the signs of the changes of the times, and carry out cultural coding and visual reconstruction through their own creations. , creating an ever-changing, colorful and profound artistic landscape.
In the context of postmodern culture, conceptuality, as an important ideological core, is not only an important choice to lead abstract painting to get rid of the old shackles, but also an inevitable trend that promotes the diversification of thinking concepts and creative media in postmodern art. The way of expression of the artist also presents a different face following the artist's own experience. Jia Aili's paintings are a true representation of the real world, and they are also multi-dimensional spatial construction and abstract expressions, trying to explore the close connection between people and the times. "Van" (Lot.2085) expresses an "ideal place" constructed under the great changes of modern life and the collapse of the value system, and conveys the spiritual crisis and social predicament faced by people through images. Li Songsong's paintings are usually based on modern Chinese historical pictures, and give familiar images to people with a defamiliar representation to explore their inherent historical significance and cultural value. "Monster" (Lot. 2086) recreates the characters in the classic series, giving them new visual experiences and internal metaphors in the form of patchwork and reorganization. Xie Nanxing's creations are very experimental, innovative and unique. Untitled No. 3 (Lot. 2087) reflects the alternative interpretation of space, time and image in different media. Innocent X - Velázquez (Lot. 2088) redefines the form of portraiture through diverse visual symbols, expressing abstract concepts and spiritual references in a realistic way. Qiu Xiaofei is good at overlapping history, memory and fantasy, so as to go deep into the exploration of cultural psychology and spiritual consciousness. "Little Gazebo" (Lot. 2089) captures memories with scenes from daily life, and re-endows them with new visual appearance and spiritual perception. Brazilian artist Lusca Arruda likes to use landscape schemas and abstract expressions to reflect profound meditation and spiritual sublime. "Untitled" (Lot. 2090) shows the surging light changes in the silent scene, while reflecting the inner anxiety, it expresses a nod to the sublime romanticism.
"'Your freedom belongs to the sky and the earth, and your courage belongs to you'. So I had those days when I was very pretentious and very sincere. It was my silver age. The sun was shining and the eyes were shining, until graduation came unexpectedly. A tepid despair began to come over me, and I felt hopeless at the time. I was trying to paint like I was grabbing a mast. The studio, for me, was also counting down, it was a sinking ship, I I can't save it. The thought that I might not be able to paint like this anymore, filled me with despair. I always thought that in my last year of college, and the two years of graduate school I picked up after that, it was my fate Blessing. Only by painting hard, day and night, can I repay the generosity of fate.”
- Jia Aili
Magical Reality in the Wasteland
—Jia Aili, "The Van"
Jia Aili was born in Liaoning, China in 1979. He graduated from the Oil Painting Department of Shenyang Luxun Academy of Fine Arts in 2004. The mirror insight and spiritual expression of his paintings of the real world seem to indicate that he has already become the backbone of the new generation of Chinese painting. Jia Aili, who was born in Dandong, experienced the decline of the national heavy industry bases in history. He is famous for his "big paintings". The grand scenes in his pen are like the epitome of the atmosphere of the Northeast. The large-scale pictures depict small people, who are often in In the endless wasteland, people are in the tide, not knowing where to go. From a distance, it is a grand narrative, and it is a powerful opponent; from a close perspective, it is the details of history and the relationship between people and the times constructed by the artist. After personally experiencing the rapid development of his home city from reconstruction to prosperity, in his own imaginary kingdom, he used the narrator's monologue to condense a kind of rational doubt and tense psychological tension. In the early works of the "No Name" series, "February Story" and "Children of the Century", the desolate and boundless horizons, scenes of cluttered ruins, and gloomy and icy tones create a personal introspection that tells the story of an era. In contrast, although the technique of separating the familiarity from reality in the giant paintings continued in the 2009 work "Van", it presented more of a pursuit and tolerance after introspection.
The most intuitive feeling when seeing Jia Aili's works is the sense of grandeur and epic. The helplessness of mankind and his religious sympathy are shown in the surreal future pictures, but for Jia Aili, his paintings are different from religious paintings. He never incorporates gods and heroes into the picture. In the scenes he created, every character that appeared in the picture was the spirit of the image of an ordinary person he empathized with—he wanted to give the little people an epic sense. Jia Aili said that his art was “to win the little people’s victory. ". In Jia Aili's view, the art of painting is a spiritual process of seeking truth, which can only be experienced and completed by oneself. To a certain extent, his pursuit of truth is to experience the process of living with the people around him in the tide of the times. Most of his works question reality in a way that is far from reality, and tell his personal fables in the pictures. He likes to read the books of the "New Northeast Writers Group" and the small stories of great joys and sorrows in the world described by them. An era has passed, and these writers expressed the joys, sorrows and sorrows of ordinary people in the past in literature, making life meaningful in time, and Jia Aili used a huge scale metaphor, painting is his rhetoric, in the empty space. The landscape reflects the insignificance and fragility of human beings.
If a genre of literature is used to describe Jia Aili's works, it should be "magic realism". What Jia Aili depicts is not our real world, but more like a "beyond" that we do not know or see. In his pictures Here, he uses multiple dimensions to make war, technology, and humanity meet in the picture. The nuclear explosion scenes with great visual tension, the helpless gestures of small human beings, the coldness of dark blue tones, the speed and icy texture of machines, the barren plains... These images constitute his pictures, with rich imagination and art The exaggerated technique "specially expresses" real life and turns reality into a "magical reality". Looking through Jia Aili's works, you will find that no matter how war and technology are presented in the paintings, the existence of "people" has always been dislocated by him in a vague and complicated context.
As a philosophical reflection and spiritual symbol, "Uneasy" runs through Jia Aili's works from beginning to end. Whether it is war or technology, he visualizes “unease” in an imaginative way, and his images become symbols hidden in the times, questioning the personal spiritual crisis of the times. Since the 1980s, contemporary young artists, while gaining a larger and more tolerant creative space, have also revealed the crisis signal of excessive release of individualism. For Jia Aili, the reason why he has been attracting attention is largely because he did not immerse his creations in endless political projections, nor indulge in the repetition and reorganization of the logic of art history. On the contrary, it always maintains an independent will and spiritual transcendence in the works. Today, with the mass production of symbolic and reproducible image resources, it is increasingly becoming the most valuable value of contemporary painting. As far as the picture scene of "Van" is concerned, the uniqueness is that it is separated from the desolate ruins and endless horizons in the previous series of works. But the sense of power and inner touch has not diminished in the slightest, and it can even be compared with Turner's "Blizzard" series. The difference is that Turner's wild brushstrokes, thick texture, and instant capture of color and light highlight the passion of life. However, Jia Aili achieved a hidden spiritual transcendence with his solid and precise realistic modeling ability, literary arrangement, personal mood, and formal texture. Like the presentation of the work, although the presence of all the elements creates an unnatural, timeless spectacle, they are not a mystical dream of a beautiful world, as provided in Peter Doug's paintings. Instead, it bid farewell to the superficial and superficial visual experience under the calm narrative order, and connected it into a philosophical metaphor and speculation.
The scene depicted in "Van" is a green space, which opens up a new freedom of interpretation after the representative elements in the previous pictures that play the role of the narrator are gathered together. Here, there are not only the sculptures of young men and women on the pedestal made of small stones in "Youth Park", but also the viewers wearing Mickey Mouse ears in "Mickey's Redemption", and the water lilies in the "Desperate" series, which are vaguely visible in the background. , and the squat walker in Century Children. The illusory youth sculpture seems to be looking for the memory of childhood. The space construction of centaurs, beasts and vans seems to shuttle between fantasy and real reality, while viewers with Mickey ears are watching this alienated world. It also exiled and redeemed the desperate inner state of emptiness and repression. Obviously, Jia Aili's paintings are not illusions of reality in the simple sense, nor are they the random use of various materials, but construct a romantic feeling in the context of the great changes of modernization and the collapse of many previous value systems. And the "seeking place" where pure ideals grow, all of which grasp the intersection of reality and memory under the connection of reference, with a fragile and restless spiritual temperament. "The sense of holiness" has gradually faded in modern society. Jia Aili uses images to convey the profound spiritual crisis we are facing, which is his despair and sorrow for the contemporary religious and humanistic status quo. "the power of. Jia Aili's works have such magic power. After feeling the shock of the magnificent frame, the pleasure of appreciating the details in the picture is endless.
The delivery point of this work is Hong Kong, China. For details, please contact the staff of the Modern and Contemporary Art Department of Beijing Yongle Auctions.
The work is to be handled and claimed in Hong Kong, China. Please contact Modern and Contemporary Department’s staff for further details.