Painting sound ｜ Wang Xiaoqu: Amazing in reality

Wang Xiaoqu/Wen

My paintings are a bit like using image writing to connect chaotic and complicated visual experience, including what I like and hate. For example, when I draw a portrait, I will refer to the image of fashion advertising, calendar photography, classical portraits, and college entrance examination. I will use various familiar forms in the subconscious. I hope to create a flexible language, which can accommodate a lot of content, so that I can express it as I want.

I use my personal imagination and subjectivity to deal with those rigid visual imaginations (historical, power, and immature society caused by the clarity and limitations of power, and immature society) in reality. In the creation, I cited and eliminated the significance of these visual elements, and brought them into uncertainty (imagination is the most basic power of everyone).

At a very period, I don't want to emphasize the subjectivity of painting language. Painting is just a means to me. Creation is mainly to express my feelings -a kind of existence. I try to create through different themes. It is both painting and drama, but also advertising or poetry.

Painting is like a grammar, the image is a vocabulary, and the style is rhetoric. I choose different painting methods based on different image content, rather than dedicated to creating a stylish language. I enjoy the process of constantly shaping the language style.

Now we always face various problems for painting. Why are we still drawing today? Why choose this medium? The history of painting and its circulation in the capital market allows this language to withstand many moral judgments. No one will ask a writer why he is still writing today.

The painting art discussed in the college is far from my growth environment. I grew up in a remote southern town. I have no contact with any senior art I have learned in the college since I was a child. Images, including advertising, illustrations, movies and television.

With the rapid changes in society, Volkswagen images and urban environment are constantly being updated. These vulgar visual culture constitute my environment.

"Blowing the breeze in pine forests, the picnic during the grave sweeping,

Salted, sweet, spices,

Soft, crispy, sticky ...

Under the caress of the sun, as a living life,

We are buried on the land of the dead relatives, happy,

This is the most practical happiness. We don't even have to laugh,

It is overflowing at the corner of everyone’s mouth, and some people's mouth is tight,

Because you can't bite some food,

Real happiness does not need to laugh. "

If the history of art is a history of human nature, then my question as an artist is how to find yourself in the reality of extremely lack of personal sex, so how to use the visual resources you face in life is what I care about.

I cherish the direct sensory experience in daily life. This is about the body, just like the moment when my heart and the outside world suddenly hit -I reappear these moments through drawing, and attempt to bring the amazing surprise caused by reality to the picture, such as Uncoordinated forms and colors, rough traces, and the ama of material texture ...

"A person sitting in the seat, wearing unfracting ones

Gray suit, the short body of the fat almost needs to break the suit,

He was holding a briefcase and looking for it in it, how could he not find it,

The shiny hair seems to be wet by sweat,

San is on the forehead. Wrapped in gray

Pink shirt is like another kind of lining, which makes people have no fear

Seeing the inside, he was opened throughout,

The most authentic inner. "

In order to confuse reality and pictures, I have tried to suppress the mature painting rules and destroy the integrity of language, but it is easy to jump to another extreme and deviate from the idea of ​​building a tolerance system in language. How to transform the actual experience to the canvas and how to build psychological activities through visual construction is a problem that I have been trying to solve.

I simply appreciate the painting language of painting makes me feel boring. I try to analyze how to classify it. It is always futile to feel good. Pay attention to the language.

Good painting is like an organic life form. Some "defects" (such as "clumsy" or "tacky") are very attractive. Usually a good work or a good artist should have some kind of enlarged character, reflecting a certain surface in human nature, making the creators and audiences equal. beautiful.

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