色彩斑斓的民间艺术氛围在我的童年生活中留下深刻的印象

  作者出生于东方之珠,祖籍山车逢莱,阿爹青睐艺术,幼时老爹时常带着我们哥哥和二妹拜名师,亲临大师们的教育,使本身收益无穷。  阿妈勤劳,慈爱,一年一度一到残冬,正是她爸妈大显神通的光阴,她像非常多的胶东巾帼平等,全做各式各样象征大吉大利图案的面条,造型稚朴天真,新岁是一年中最欢喜的生活,全家火烛银花,更新家画,游厂甸,逛庙全,多姿多彩的民间艺术气氛在自家的孩提生存中留给浓郁的影象。  十年农村生活的磨砺,民间艺术的影响和强有力的感染力,村庄婆姨娃娃们的惊奇,浓厚的风俗风情使笔者永恒铭记,进而笔者找到了本人要呈现的主题材料和生平的措施追求。  那裹所选的是近些年所撰写的,也是本身美美好的梦境的一部分,羞于见人,但又恨不得把自已的情义告诉民众,小编愿把这一份乡情和愉悦与朋友们共享,以鼓励本人,绘出越来越多云蒸霞蔚的梦。^-^Preface  I was born in Beijing ,but my ancestral hometown is in pang Lai ,Shandong province. My father loves art ,and in my childhood be often took me and my sister to famous masters and formally acknowledged them as teachers the enlightening instruction of these masters were enormously helpful to my later career .  My mother is hardworking and amiable. In the 12th lunar month every year, she would like most women in the eastern Shandong ,demonstrate her skill in making cooked wheaten food with all kinds of natural and naive patterns symbolizing good luck. The happiest time in a whole year is the Spring Festival ,during which the whole family would adorn the house with lanterns and festoons, change calligraphy and drawings on the walls ,go to Changdian and the TempleFair.The colorful folk art atmosphere left a very deep impression in my childhood .  The tempering of my ten year life in the countryside, the powerful influence of the folk art ,the pleasure of the country women and children, the rich folk custom were both unforgettable and inspiring ,from which I find the subjects that I want to express and also the artistic goal that I will pursue all my life .  This selection here were created in recent years. They are also a part of my beautiful dreams. I feel uneasy to show these words to the public, but meanwhile I am eager to express my emotion to people ,I would like to share this country sentiment and happiness with my friends ,in hope of encouraging myself to paint more colorful dreams.

  1) How did the situation of Chinese contemporary art change in the past few years? How did Chinese artists life change?

  In fact it has been nearly 30 years since the development of Chinese contemporary art. The achievement of Chinese contemporary artists has been well recognized internationally at least from beginning of 1990s. It has caught greater attention only in the recent years probably because of the outstanding performance of Chinese contemporary art in the art market at home and abroad. All contemporary art associated business and resources, such as the number of artists, galleries, auction houses, media, collection fund and interested public and etc. all flourished, which has significantly changed the situation of Chinese contemporary art. In my point of view, it is too early to make judgment on whether the result of such changes is good or bad. Perhaps double-edge-sword is a proper expression.

  Life of artists also changed and at least their working conditions are much better than before. You know life of the whole Chinese people has been improved.

  2) What are your inspirations in modern Chinese society?

  Development of Chinese society where I grew up and have lived is the most direct source of my inspirations.

  I started to be engaged in art creation at the beginning of 1990s. I had been greatly interested in popular culture, public culture and consumer culture, which were the main sources of my inspirations. Another clue of my art creation is integration of my feelings on Chinese folk color system and contemporary commercial color system.

  During the course of Chinas opening, reform, rapid development of economy since the 1990s, the life of people has changed tremendously and consumer culture entered its primary stage. My major creations in this period included Anatomy series (1992-1993), Recounting of Skin series (1994-1996) and Romantic Trip series (1996-1999). Anatomy series mainly shows my contradictory mind and confusion between accepting and refusing of swarming and enormous popular culture. Recounting of Skin series narrates that while expanded consumer production and affluent consumer manner brought rich economic life, it also brought destroy upon natural zoological balance and influence on peoples physical and mental health. As my foremost creation during 1990s, Romantic Trip series presents peoples expansion of vanity and desire during pursuing for new consumer manners and happiness indexes. Artistic critics deem creation of this period is Kitsch art and also New rich farmer gout art presented by consumer culture.

  After the year 2000, social development and public life in China became more and more international, urbanized and fashionable. My main creations in this period include Coolness series (2000-2001), Butterfly in Love series (2001-2003), the to-be-continued Chinese Portrait series (2000- ) and Life Like Flower series (2006- ). Coolness series attempts to break through from detail and narration of Romantic Trip series to shape fashionable and future post-mankind. Butterfly in Love series makes modern fashionable women and women in old Shanghai of the 20th century stack up against each other with ambiguous gesture and complicated eyesight to examine respective styles. Life Like Flower series conveys my new experience and understanding about life with painting, sculpture and device etc. Through compact figure, popular mode, simple but strong comparative colors, Chinese Portrait series depicts puzzling and empty psychological portrait of contemporary Chinese with coat of international urbanism in flourishing consumer culture. This period presents urban popular interest of consumer culture. Li Xianting, a well known Chinese contemporary artistic critic, considers that Chinese Portrait series is a classic of consumer culture.

  3) Some critics say Chinese modern artists now tend to do what the market wants, especially western market, and lose their originality? Do you think it is true?

  The critique of this kind never stopped since the word market is known to all. As there are so many artists in China, it is impossible for me to know the purpose and orientation of each artist. The only thing I can do is to restraint the childish judgment of market-oriented or none market-oriented to affect my art creation. In other words, my creation is not market-oriented.

  4) May I ask how expensive was the most expensive of your paintings that you sold? (if this is a rude question, please dont answer!)

  More than a million US dollars.

  5) Where is your gallery? Do you have a place in Dashanzi?

  I have a studio at Feijiacun, Beijing. I dont have a studio in Dashanzi.