剩山图之一 Painting

1971 Born in Chongqing, China
1996 Graduates from the Oil Department Of Sichuan Fine Arts Institute with an MFA. Currently employed as Lecturer in the same department.
Works and lives in both Beijing and Chongqing.

About my new pictures
Wangjing and Feijiacun- they are districts between downtown and the outskirt of Beijing, there I live and work. I always have to use that way, everyday, from one place to another place. Outside the car, through the window, I see construction sites, farmland, villas in European style, in the sixties and seventies built socialistic buildings, and the modern office buildings from the new century, one by one, row after row. In only a little more than ten minutes I see a sight, that is so hasty and busy, at the same time also very paradoxical. That makes me mad and inquiet. So the background for my newly painted pictures came into being.
Daily life is the most important theme of my pictures from the nineties of last century. But I move my atelier from the bed of down in Chongqing to this noisy, impetuous but magnificent city Beijing. What I see and hear makes it difficult, to continue pursue painstakingly only the symbolic effect, what I have done at the beginning. In order to get a continuance of my work, finally this continuance would be only a barren continuance of same mode. So I began trying to give up my old style, something like the miniatur , finely and carefully painted. I have used this way to get a feeling of pettiness. Now I will blow up the stochastic fragments of living props, and use a more improvisational and calligraphic way to paint my pictures. This change of the s benefits from the series of the cat portraits, which I painted in 2003. I use this way to create chaos and strains in my pictures. So my new way of work is very different to my old way of work. This experiences of daily life and myself are not more the dominating motives of my paintings. What I try to describe with my pictures are the potential violence to human beings from their environment, like the demolition constructings, sightless and unlimited urbanization, excessive use of resources, etc. They begin to appear in my new series of fish . I use a describing technique, purer and more direct. The traditional symbolizations and suggests integrate each other, and the expression is clearer. The finely and carefully painted pictures attract me no more. Pating is now for me only a way to make out my nature and feelings.