feng boyi

The revolution in art world that is triggered by the shift of times and societies has fostered, rather than new concepts, skills, ways or tastes, but various life forms for different people in daily life. in my opinion, the life form and working state of liu Qinghe have a tendency of exoticism and marginalisation. such a manner is so unique. Liu has courage to equals the individual state to the artistic stand. he pays attention to the authentic state and forgoes the traditional resource and system. This means that the moral meaning in life has become nothing important. What counts is the authentic and touchable life under this simulate era. This has shocked the traditional Chinese paintings.

liu sets eyes on problems that people face in the process of urbanization, including the embarrassment, dilemma and absurd. But the feature of his manner is that he does not extend this into the history or the epic reality, but focus on the simple life. he plants his view in the shadow of the daily life and extends to the complicated underground zone, which is covered by the common orders. Through a sentimental atmosphere the potential conflicts in this historic process in China are reflected. Besides, the thoughts and self-meditation of the subject of art and individual are mirrored in this special view point. as liu picks the common people as the object, he applies a visual narrative manner and therefore the unrest and confusedness, blindness and obscuration, love and hate through the process of modernization in villages are depicted. at the mean time an evasion to the collective consciousness inside the desire-oriented cities are reflected too.

since this is a new pattern for painting,  i value liu’s exploration on the visual narrative more. under such a complicated situation of life, liu focuses not only on the hidden scenario but also on the internal expression and the manner of self rehearsal. The self rehearsal from various figures comes not only from a simple change of angle. it has provided a direct channel for viewers to access the mental level of the figures. Through this a clearer scene and connection is built. such a structure in pictures resembles a polyphony, or say, a multi-part singing. Besides, an open and yet strange awareness of behavior is processed in his works. such an awareness, which stands in his works rather than the concrete gestures in life, seems wild and bizarre. We could discover one thing from his work art Pig—a Fragment from life: the open but weird artists have outstanding wisdom and yearn for the spiritual freedom, adore the saint in personality and pursue ad
libitum in style.

apart from this narrative from heart and duplex structure, liu has also manipulated a set of skills to maximize the visual effect in his works. This maximum does not limit in a certain form. it is a result of a net-structure from space, time, and figure to context. This means, such an inflated power has covered the whole scene in a picture.  it flows as the figures stand, walk or float.  it fills the whole space while staying under the common and real presentation. such a multi-polar power is full of charm.  it has provided a broad deep living background and wide extended reality
for liu’s career, while it incubates a sad mystery. such a mystery enriches the quality of the visual focus. he firstly disorganizes the orders of the structure and cuts them into countless, shining pieces. Then he rearranges them under a scar-full background, inviting the reality into the dream.
The real world and fantasy are overlapped, making the concrete shapes to unreal blur images. Through this the theme of a work is expanded. The line sentiment becomes dense steam, and forms a diffusing element through a volatilization. This is a subtle interrelation of feeling.

as for the taste of aesthetics, the ink language that liu has adopted reflects a scene of nostalgic, sad and helpless.