An Introspection into the “Scissors series”
Mao Xuhui
Since 1998, I have gradually given up emotional engagement in my work, and instead a sense of calmness and detachment has emerged. This, in the fist instance, is a transformation of the inner self. In contrast to the need for passion and bitterness in the 1980s, this present detachment and coolness seem to suit me better. At this stage of my life, I have little to squander. For the sake of my health, I have given up drinking. Over the past few years, alcohol has infused many moments of craziness.
Strictly speaking, things of the past do not disappear, that is the past has marked my psyche. On the surface, the past may not manifest itself, but deep within it has become a part of my fabric. Here it undergoes a metamorphosis to emerge in another form. To be honest, when looking at the changes of style in my work, I have simply changed my outer garments.
In my current work, I have eliminated previous habits of expression using heavy colour and dense textures, my brushwork and knifework now reflecting the “as is” state of the objective world. However, as for image and style in painting, I have retained the same perspective as in the past. I now use softer, subtler colouring and finer techniques. But just as in my past intensity of attitude I am in fact only trying to give prominence to the image. The differences lies in that the current paintings do not seem oppressive on the surface, but the image still stands out. By treating the image with detached coolness, I feel the image is even sharper.
A pair of scissors – a daily necessity used by everyone. Nowadays, I frequently use them in paintings just like others use faces or bodies. To me “scissors” are more amenable to be pressed into different shapes for visual impact. When I started to paint scissors (probably in 1984) it was a stage in creativity; in other words, I was treating them as a variation in the intentions of the “Patriarch Series” (1989-1992). The “Patriarch Series” was about the issue of authority expressed through a daily necessity – a pair of scissors – indicating that this force is omnipresent, even in everyday life. Sometimes, I used the scissors as an unusual symbol, pasting it onto different scenes in real life in order to express feelings of indignation and disquiet. Having gone through this phase, I no longer think about authority when I paint scissors; rather I focus my attention on the form of the scissors. The image of a pair of scissors suggests function. In fact, I now think it is not important to discuss what they (the scissors) are going to cut, but what feelings are generated – their significane, the meaning of shape – through style and not literal effect. I am not actually painting scissors, but rather the image of scissors.
I often overlook scissors as a part of everyday life. The “Scissors series” no longer has a specific implication. I have let go of my own personal view. What remains is an empty vessel. Once you have cast aside your own point of view, it is easier for others to enter into your realm. All contemporary art seeks to create a realm that can be shared by all. With this concept in mind, I think artists should sometimes hold themselves back.
Experience shows that a pure, clearly defined image can generate complex ideas. These ideas come along whether they are intended by the artist or not. It is always like that: clearly defined objects can produce ambiguous concepts; the simple is just another aspect of the profound; meaningless becomes meaningful. Isn’t this what a lot of effort in contemporary art is all about?
(Below 2 articles directed translated with Google tools)
I know Nagymaros
Zhang Xiaogang
Nagymaros heard in the Beijing Office of a retrospective exhibition. In total awareness Nagymaros nearly 30 years. Common experience before and during the many ups and downs of the contemporary. From an early stage of reform and opening up, "Fenqing" Now, the gradual evolution of a complete "in indignant." Therefore, I have to say that on the two.
Nagymaros originally called "Xiaomao." It is said that when less is a unit in Kunming do storekeepers, because fond of painting, it is often mixed with a group of slightly older than his "amateur painter," along with the study group, they give him a name. Over time, with his hard and the hard work of Superman, his landscape paintings gradually began in Kunming had some fame.
Remember the first time that he is in the early summer about 77 of Jinning County, a course on the art of peasants. I was there when the educated youth. Favorite painting because it is often spied on the county for "creativity." "Xiaomao," Bao commune in the "cadres led" (with Our different levels). That training courses, to the director of the county cultural centers with their own personal relationships, to Kunming to please a few experts to the county guide. Reportedly, one expert said: "In your county on harbored a 'landscape' master called Mao Xuhui, known as' Xiaomao '." So personally to the director of "Xiaomao," Please do a few days to the "gentlemen." I am an unknown in Kunming Junior, few people know that through the course before the Kunming probably know, both the quack who Sheishei. At noon on that day, I heard a friend excitedly told me: "Xiaomao coming!"
"Xiaomao" is a one-game出不, put aside the baggage involved in a local basketball game. Then, and we excitedly talked about just seen two films: "Ciprian. Beilongbeishiku" is a love scenery tablets. Another is "Walter defend Sarajevo." Listen, he said: "Ciprian. Beilongbeishiku" shoot too beautiful, it is necessary to have the image composition, it is necessary to color a color! "Walter defend Sarajevo" The most impressive scene is: to terms, veteran guerrillas fell on the square, a large group of pigeons fly over the entire screen…… study painting as a youth we can imagine their feelings greatly . -- This is the first time I know Mao Xuhui. Although we have a difference of only two years older, but not the same level (he was educated youth cadres I), can not be said to truly understand.
After a natural opportunity to see his works. Remember him painting a lot of old and the streetscape of the Dianchi Lake in Kunming water. A particularly deep impression on him at a painting of a sunset on the roof of Jinbi Road, Tongren Street. The orange and grey-tone, thick paint spelled out a full strength and warmth of the scene is another deputy in the Xishan backlight and Dianchi, dark brown and light lemon yellow contrast, the water in the rock Rattling feeling a bit on the metal. My teacher is painting watercolors, in peacetime as it is difficult for me to see such heavy colors to express the painting, mind, very surprised and admiration.
Mao Xuhui real understanding in the university after. At that time, I get Youhuaji the Sichuan Academy of Art, he obtained the Yunnan Institute of the Arts Youhuaji. We get the admission notice, "Xiaomao" I convened, Xieshuai (he was unfortunately unsuccessful, emotionally very low), several youth study painting in a small restaurant eating a meal, and went to the studio stay a group photo. The pictures that "the longstanding friendship, and the future is unlimited," the words. Since then we have started a relationship for the last 20 years of communication. (Middle us for the same four years in a city suspended). Communication at the university in the meantime, learning from life to the exchange of feelings, including his first love, almost无不谈. Our first holiday together to Lijiang painting, I was opposed to the family, penniless, he half of his own money to tell me, take trucks with sleeping shed, eating steamed bread, drink Whitewater, a large number of paintings to paint. Another holiday us about the Xieshuai, Yang Jiang, and other friends went to a mountain named paint, eat, live in the homes of peasants. Poor diet, we pulled the side of his belly, Renzhao mosquito bites while desperately paintings to paint, in Yunnan on the plateau have to find out the Russian School colors, the art is full of passion and fantasy. After the last one in the university holidays, we have already agreed and along the Yangtze River from Chongqing starting, all the way to Jervois, Nanjing, Shanghai, the last study visit to Beijing. Mao Xuhui at this time as older, is the only girlfriend, and everyone was elected leaders responsible for road travel, accommodation, financial and other major events. In this way travel, Mao Xuhui once again show that he's a former storekeeper can. He painted many forms, such as January 1 to fill in what the museum tour, which visited a senior painter, rich in how much money they can spend, and so on. Unfortunately responsible for the Liu Yong camera for technical reasons, in the end only the two in the Great Wall of blurry Images. With the peer-Jun Wu Yi began another friend of his called "Nagymaros." We know that in the four years at the university that hard, and enthusiasm, and be good at uniting students "Xiaomao," has evolved into "Nagymaros." "Nagymaros" This is not just a name to begin a friend, but also as an artist determine the title down, and after Lu Peng has entered a "written by contemporary Chinese art history." I guess Nagymaros themselves quite like the name, I noted that many of his works are signed by the "Nagymaros."
After graduating from college, I remember being assigned to Kunming, and then with the tension between the parents, "Love" also failed, and not at work, feeling very bad. On the money because, in a glass factory to do a muddy Gong. That is my year birthday, I placed a box at home to their own music, is considering how to overcome this for a 24-year-old night. To a sudden Nagymaros. That is my birthday, one way or another I went to the Peace Village street Nanshang snacks, a bottle of wine, a peanut, (he is a natural-bought), for my birthday. We drinking liquor on the peanut talked about the love of contemporary art, the art of false Local loathing on performance, and on the existence, and on the lives of the confused and the yearning of God, etc., etc. . With modern Western culture on the little knowledge, the art of weaving their own vision of life. From the beginning of the day is probably determined in the next four years, we Kunming life and art direction. That is: crazy reading, testing the various styles of painting, the exhibition Association with the United States to confront and to make the world from all different friends, keep long hair, he was an engaging person of Modern Art takes pride in the arts and disdain official Those hypocritical "Korean folk painting paper" despise superficial and conservative, the pursuit of the meaning of action, the value of respect for the feelings and frantically drink, gathering to vent? has been exhausted, gastrorrhagia, physical collapse, occasionally to a PANG Jiafen a small mountain village to listen to the Hmong people to sing Christian hymns?.
Remember that the 82 day evening, Nagymaros brought a new friend to my residence, that is, after their graduation from the northeast came Yunnan Bodehai. Xiaobobuaishuihua, just loves Mentou drink. Later, he read works only know that he is a "Huangyuanhang" No wonder he should Nagymaros introduced to me. Since then, Kunming, the "Three Swordsmen" said. , A US Xieshuai Shangkuanke in Sichuan, went to Kunming to accede to this somewhat gloomy yet vibrant in to the circle. Throughout the period of August 5 fashion, we have always interaction, interdependence and mixed in together.
In the early'80s that the past few years, who would have thought that so far in the city of Kunming, as Nagymaros, Xiaobo and I, and several other friends, was not satisfied because the mainstream culture, carrying books and Misunderstood modern Western art, as the price with his life, paranoid and crazy, to pursue another to express themselves, the real heart of the art road? Nagymaros now be looking back a few years that the works of art, it is hard to use some simple criteria to judge their art. Because those who work behind the art is not only a quest and exploration. They represent an acceptable to the public, nor for Meishujie understanding of paranoid youth, loneliness and the courage to survive, and mixed through a large amount of reading, through a true and cruel life experience to "understanding" of Nietzsche, Sartre, Freud, Moncton, Kafka, Jack London, Beckman, Petrushka by Stravinsky, Bach, Kekexijia, West-Ross, Hesse, Marquez, Eliot Daly, Wagner and, later, that the German Jifuer etc., and so on. Therefore, I often think, to really understand the'80s, understanding Nagymaros works, it is necessary to read at the same time he wrote to the large number of notes, letters, Capriccio, poetry, and he has been doing those "forms." In the IT market saturation and full of temptation today, it is sometimes difficult to imagine that the era of understanding and artists are confronted with is how a living environment and contradictions, confusion, that is, full of passion and full of confused state of mind. Nagymaros in the early works, such a state often antagonistic contradictions can be in one week at the same time in different works - a vent-and-speculative, but also relentless narrative - he seems to be the establishment of a kind of artistic style and aesthetic system is not interested. Whether he is with painting, collage, or a poem, with column, letters or language conversation, it seems only to express the word: "there." That is, there is a split life, the existence of opposition that is the art of thinking that is there, there is passion, there is suspicion that there is a contradiction there that is experience, there is Nagymaros. -- Beginning each day, he is in his flat, - a department store Publicity Bureau - to write in the newspaper box art characters, but at home to do a "devil." Later, for a good unit - Kunming film company Publicity Bureau - he routinely during the day to draw large film posters and beauty, evenings and weekends to his cabin in the small painting the confusion of those works. This split, the state has continued into the 1990s. Nagymaros on the one day when I talked about the split life, he felt that his adaptation has been a split in the state of survival, but he split with some passion and impulse, and harmonious life so that he has the mentality of gloom many.
An early 1985 at noon, I went to the residence of Nagymaros, the Shanghai Zhang Long, I wrote a letter to him, he wrote on the letter, Zhang Long can be found in Shanghai, a privately held one to the possibility of recent years. I asked the views of Nagymaros, Nagymaros said: "The whole!" In this way, he began to take the initiative to undertake preparations for the exhibition of the work, liaison, drafting the text, transport, mounting, and later long and, foreign affairs, explained, and so on. This is the end of 85 in Shanghai, Nanjing's "as a new" art exhibition. 86 to the autumn, as Nagymaros Yunnan representatives to Zhuhai to meet with Wang Guangyi, Wang participated in the general meeting of the "Zhuhai meeting." I remember back that afternoon, in a gathering in a friend's home, Nagymaros wearing a very fashionable coastal line first, the emotional high, we conveyed to the information from Zhuhai, a revolution has finally started to give the feeling. So he called you set up a "Southwestern art research groups." At the same time the Provincial Library in Kunming held "as a new" second slide, focused outreach. Once for a period of time, I am on August 5 in many ways Shukan Shincho, a bit tired, had to withdraw to avoid a friend hiding up. Nagymaros this back a bottle of wine, riding a bike Mandaijie find me, until a friend's house found after a drunk俩Youhe. -- This is the 1980s Nagymaros: persistent, profound, positive, passionate and full of appeal and impulses.
86, I transferred back to the Sichuan Academy of Arts teachers do, Xiaobo to Shenzhen, a Hunan Meizi back, and went after the Beijing. Some friends leave the country to the field to field, and the rest have to go earn money to the renovation, it seems that the whole of life in Kunming overnight to enter another era. Nagymaros divorced, and daughters are with her mother and left. The day he was still painting in the film companies large posters, to return to the hut at night, in addition to painting those small painting confusion, one more content is to move a small bench, with his back to home-Kanna small black-and-white television.
Also in that period, repeatedly Nagymaros began painting "parent" series - is still the show in various ways, from various angles and interpretations. In the "parent" series, he was their first paintings gradually became the spectre of a diamond, lonely existence in a big chair. Previously there have been women and children disappeared. He also began painting some in the streets, in the dark room roller body, but when a Shougulinxun female demon, and sometimes it will no longer be stuck in a wood. Nagymaros always is the same contradiction "Nagymaros" On the one hand, he always has a rational desire and yearn for the illusion of order, some almost non-stop plane to painting decorative works the other hand, he can not shake off some of the diabolical power, desire and fascination with the darkness of death. -- This time the "parents" always fidgety and closely watching us.
Later he moved, the work also resigned, and in the outskirts of Kunming Juleyijian studio. Once I went to visit him and saw him in a cardboard ruthless fashion, with oil pen to write two-character phrase: "relax!" At the same time repeatedly painting began a new series of work "day-to-day epic." Piling up on the screen by the use of a wide variety of items, scissors, shoes, medicine bottle, and so on. The two paintings until now still my particular favorite works.
Nagymaros started "professional artists", a full renovation of the families have a home-cooked speculation in the primary new wife; one is a dedicated marriage do not want even a small knot nanny. Sometimes I particularly like living in Kunming back to his home, eat good, cordial, caring, people from the heart of a special feeling at ease.
Nagymaros really from a "Huangyuanhang" mature as a calm, a scholar demeanor artists? On the one hand, I am pleased that his mind, on the other hand, I was often in his small eyes see the slightest contradiction and despair.
Nagymaros also began painting "series" of the works. From "day-to-day epic," derived from a pair of scissors and started in some residential area in the sky of the sharp Dip down, in the end have a big sofa in the room is rising and moving. Later into the construction of a steel frame, in a variety of colours stands in the background, or lying horizontal. At this time we have entered the 21st century. We never had no chance to stay long hair. Had a period of time, Nagymaros body to collapse almost every day carrying a bottle of mineral water to see friends. The face of such rapid changes of the times, he used one hand to the face of the silent life on the other hand is still at home with his passionate words to express a certain anger.
In those calm, and full order of scissors, on the one hand I feel Nagymaros artistic maturity; on the other hand I am familiar with that Nagymaros seems to be "seen". I note that he explained to the people who had used some scissors, I do not quite understand the reason. Gallery also used to do publicity such as the "Chinese people" such terms. I can understand, but I do not understand. Nagymaros in my mind that does not belong to the pursuit of Aestheticism, and the pursuit of rational artists. I can only say that, perhaps he will have to hide? He tried to adapt to a "mature" state?
Perhaps this is an emotive and order needs to be mutual cohabitation era. Maybe we need to learn some vague description, in order to face we are faced with rapid changes of the times? Perhaps we should be more to learn to forget, in a state of amnesia across one embarrassing reality. Maybe we need more to understand life, and not to over-mining their own hearts, otherwise we will be in a crowded arena fall, get on the ground, was finally kicked Yekai. Perhaps we should learn to understand posing as a rule, stresses knowledge, face expressionless, beyond the personal feelings of the "gentleman" and a "normal" and "people"?
One day this year, I saw the accident Nagymaros Several of the picture. A used garbage bags and oil paints to do work, and he readily Several painting a graffiti-style "Pope" works. I am a bit surprised, Nagymaros conceal that it was some "random things." At the same time, early or even heard of Nagymaros to Yunnan University for a "work" - inside and I understand that he has not retired workers living like professional painter. His heart is in a "Huangyuanhang" is just a big old than in the past, act a bit slow.
One day I went to his planning of a young artists exhibition, the students suddenly heard a cordial and call him "Lao Mao." At that time, a little bit sad heart. No way, this is just the law of nature. In spring this year to New York flight, I began to Nagymaros exhibition play腹article, suddenly reminded of a section of the Nagymaros saying "no not in the language of freedom!" He said he was back in the face of the Statue of Liberty issued by the sea with emotion. I sincerely wish my old friend living in good health, success in our cause. At the same time my heart would like to say it out, I hope you do come back Buster "Nagymaros!"
December 1, 2005 in Shenzhen Pui Ling completed Habitat
From the boredom of the "red volume" to the desolation of "scissors"
Mao Xuhui and Li Xianting recorded dialogue
Time: May 16, 2005
Location: Kunming, Yunnan Mao Xuhui a library studio
LI: first clues about reasons, the most important period of 85 artistic styles, first, Surrealism, and First People. I remember your collage art, the 85 earlier involvement Browse mode of the language, such as "David and Venus," was famous. "Red volume" series, 85 fashion spread in the surrealistic mode, a very unique, but also opened up a linguistic traditions. I in 1990's "Decade thought the" phenomenon of the Sichuan Academy of Arts, "" text, and you said Zhang Xiaogang Ye Yongqing, Bodehai on from the early 1980s formed a group, you are trying to Sichuan Academy of Arts in 1985 after the phenomenon has become a fact of the Southwest. The so-called Southwest phenomenon, I said your "red volume," "private space" series, as well as Zhang Xiaogang Devil series, the Morokoshi Bodehai series, and create a language model, I use a word called "Image performance", but I am positioning language model, "Contemporary Chinese art of painting, is a more mature media, and its logo is one of the introduction of the modern Western realism painting, a re-creation of the Image of the language model. in 1983, Zhang Xiaogang and Mao Xuhui began this test period of 85 fashion, in the large flood of surrealistic painting Zoran independence, because of their work, has surpassed the surreal and the reference, as a language of the re-creation. now, the language in the Chinese painter, has become a conscious and universal way. its formation by the impact of ultra-realism, but it does not surrealistic the language model, derived from dreams, relying on different times change and the image quality portfolio to an absurd result. image of the language model is dependent on the sense of reality, which uses a pictogram is not rational with color or symbol of a symbol of the elephant, but with the life experience of a feeling like. closer to its classical Chinese poetry, such as' Smoke straight desert, the yen down the river ', in reality spirits' real', At the same time as a realm of life and experience. like China or classical literati paintings, Meilan bamboo-ju, vegetated landscape, but also the 'Yat-chest' image. only contemporary art in the image of the works of contemporary expression the feeling of survival, not of the traditional literati that elegant atmosphere, the tendency of more direct, more blunt nausea and even at the more contemporary expression of boredom, depression, boredom, such as survival absurd situation. "It now appears that you and Xiaogang , who initiated this language tradition, in particular the southwest artists, you more or less have been affected. Hill named group painting, collage and red volume which some of the earlier series? You are 82 graduate?
Mao: Yes, these works are in fact the same period works. I have made a CD, from 83 to today's works, some slides, we look at the process of talks do not need?
LI: Well, look works on edge.
Mao: may cause some topics can be discussed specifically, I would like to their own work generally assigned to several times. After graduating from college I went to work Jinbi department stores began using cartons, packaged goods, a number of things done, then read some literature like things, poetry ah, collage to add some content, including text, things into some lines, text and packaging materials collage together. Later, I transferred to a year after the film company, access to a large number of film posters, as you recall, "David and Venus," in fact many of them are from some film posters and a number of art magazines cut down something? do together. I would like to then for a number of reasons, one, there is a time to Browse things more interesting, I remember that one year, did not know that 85 or 86 had a German exhibition prints - Kelingeer exhibition in Kunming, with the exhibition from the foreigners that, I do not know how to understand, he went to the Peace Village in Kunming my studio, he was very agitated, they gave me Kelingeer the pictorial, At the same time I returned to the People's an album woman, a collage of pictorial! I think particularly interesting works is to use photographs to paste, a lot of People, a surrealistic sense of the kind of things, then I do in the film company has done a lot of collage. On the other hand - there is a reason for this is that economic reasons, sometimes painted canvas economic capacity is not enough, use this material to do it cheaper. But at that time did not do such things Xiangnamache. Comparing economic done! But also more relaxed. In fact, from department stores to the continuity between the film company or to have broken in to do. At that time a bit chaotic.
LI: Which year?
Mao: should be 84 to 87 more this done, at the same time, but when there are 85 Rauschen Burg exhibition, it is also an exciting and will be influential, then watch such things -- kind of collage effect, it is free to use images of contradictions, irrelevant collage together things very interesting. (Read works information) This is a collage of 84, painting fight, and waste newspapers. Used in the packaging of goods in department stores also done some form of the carton. (Turn "David and Venus" in 1986) of this meeting in Zhuhai on the scene put the time, a lot of people laughed again.
LI: This is planted on the mountain named series which is the "red volume," which?
Mao: the order is as follows: 82, just graduated, I went to Zhang Xiaogang and named Hill, in the university during the time we visited, it was the'70s, his first year in college, when things still painting Su was sent, or are looking for color relations. But I think we go to the 82 that a particularly interesting. I just married, the婚13 days, I Xiaogang about to paint, and did not go to the honeymoon, no honeymoon that the concept. (Laughter?) We both went to a paint-kyu. That, to him, for me, is very important. Started painting a rather subjective, as we are faced with in Gaochuangzuo landscape, a bit like at the scene Gaochuangzuo. Made a lot of simplified, highlighted some shape or remove something. He is also, as both sides feel very understanding is that feeling. Xiaogang? Subjective factors - that I more often than some. After he graduated from his creation - "Prairie" that a number of things. In that painting inside, and the more, a large number of paintings and sketches, collating a lot of composition. Come back later, and did not immediately on finishing these things, then-named group paintings have not been successful. Come back later, they started painting those who love ah, and ah - these kinds of things. Red body beginning to emerge, 83, 84, the main energy or volume on the red - the red on this part of the human body. At that time very emotional tension, depression, dry dynamic, and even - in the volume of red painting of a group of paintings, the paintings are in the evening, painting a sleepless night, about one week, the sleepless nights. Later, Xiaogang, Xiaobo (Bodehai) playing from the time they said that the painting very stimulating, and you say you are not out of the drinking ah. The treatment has been a good few days, it is so dragged out and play together, drink what ah. This painting on the end of the grant, when the 16th Art Exhibition, Xiaogang went to the movies, then I just transferred to the film company, he said, or what we participate in the exhibition. And the United States-because of his students who have been linked more! Everyone - that time is to stare at a large exhibition - the whole country. I think, just try painting? A section of the painting before things? Had no idea what will participate in the exhibition, so I put the film company in 82 kyu Hill show that a number of things to organize, and Sixth Art Exhibition I do not remember the specific time, 85 or 86 ?
LI: 84! The exhibition mode of the Cultural Revolution should be the last.
Mao: Anyway, that is when I started painting a painting named Shan group, I drew three! Taken on the participation of provincial First of all, inside the exhibition. Sent to the three, Xiaogang trip to the Sichuan Liangshan, he painted a number of things in Liangshan, a range between Liangshan Hill and named. A girl holding a branch, after sheep. I think the feeling is named Hill, he drew a small painting of a large, more than two meters - there is still the sense of the exhibition, I painted almost 1 m 2 3. The results sent to the provincial exhibition inside, in time, we find ourselves into how the painting. Finally, I found one of my kyu Hill, I find it very strange, I think I send the three! The group is writing and painting, Xiaogang also said that no large Let's talk about how, later found a small. At that time, we have two very nervous, emotional are not too good. Just in the audience began to approach, we both said: Transamerica, this place, what show? -- It is not a show, we go people say: we do not show - not to participate in the exhibition. I said, that can not be! I painted the painting group, linked to a result here, solitary - This shows that little problem! We do not show! Xiaogang also said he did not want the exhibition. We both in the fighting, the results Painting Studio acquaintances, advised us that has been carried out, even if, and this is not, who also heard that also carried out to take pictures of what the end was still just a Quanzhu. But this matter, for me personally affected is relatively big. I think that really means nothing, to tell the truth. On the one hand, I feel that if Xiaogang have not told me that, then I would not have to take part in the exhibition, I was more seriously to painting a painting, then I think I have not the size of those red out -- that also more exciting. That after the incident, they wanted to trigger the exhibition motivation, the time order of this, that group-named after the painting, while drawing room, the body, while some paintings kyu Hill, while some collage, I think at that time thinking very extreme, anything would want to do 83 to 87 basically this is the state.
LI: I think that should be the creation of the painting named Hill, as you experience the art, the argument that it is your native period. At that time local style is also quite warm when the Chinese contemporary art is the first time, I called it "during the Cultural Revolution," and from the Tibet Group Chen Danqing paintings, and Luo Zhongli, He Duoling artists such as Sichuan, to the daily lives of the little guy and the little guy, the simplicity of the local atmosphere, the Cultural Revolution correction to the "red light" and "political" a realistic model. We see this native realism, to the 19th century French classic realism back tendency. You smaller than their age, I found the fact that when you on the local style has changed, or not as a beginning, "kyu Hills" is not strictly realistic mode - in the form of life was the scene, the environment, People started to intervene and subjective image of the trend. I found that some of the major fashion 85 representatives such as Zhang Xiaogang, Ding Fang, Wang Guangyi, SHU Qun, and others, have had similar experiences, from local, but he also images of a native, this is the beginning of 85 fashion When an interesting phenomenon, typical of the previous generation language model, a new generation of people with different feelings ambush them, and then the appropriate time to appear on the stage.
The end of the Cultural Revolution and the Cultural Revolution of the tremendous changes, as well as realism mode education background, such as the 19th century French Realism and the Russian Tour School, as the hearts of this generation of arts model, as well as the art of the Cultural Revolution when false and experience to jump the queue by the real The tremendous contrast, a major boost their psychological, scars and native realism art in the underlying reasons. You - 85 and artists, there have been educated youth generation and the experience of similar artists, such as the Cultural Revolution and the countryside to jump the queue, and in the most active when they started their artistic activities, so you start from the local, but also of age during the Cultural Revolution, you small, the Cultural Revolution and the Cultural Revolution ended, in your art form of the period do not become the main stimulus, and in a period of art you are reading with a large number of Western philosophy and literature experience, in the entire social and cultural soul-searching Critical thought, start thinking art, Western modernism and the art of information, access to your vision, you have had into the realism in the knowledge structure is not your native becomes pure, your local art, is Local express themselves through the metaphysical feeling and imagery, opened a trendy 85 of the so-called "rational concept of" clues. And the exhibition form, the educated youth generation artist's work, the vast majority is emerging in the official exhibition, and 85 fashion and is the artist's works in their own groups do appear on the exhibition. If you just said, you and Zhang Xiaogang participate in the first official exhibition received treatment, forcing you started to organize their own exhibitions, "as a new" fashion in the 85 large-scale groups in the exhibition are pioneers, is the first of several exhibition one, that is which year? Seems to be the end of 84.
Mao: brewing this matter is the end of 84, 84 end of the year, Zhang Long Kunming, Shanghai was in the study, a number of contacts over there a number of artists and Shanghai, summer vacation, he returned to Kunming to tell us a few of contacts, he knew that there are such a person, but from small, he went to the circle after that time, Kunming has been such a circle: Bodehai, Yong-qing (YE Yong-qing), they also leave will come back, and Liu Xiao, Maxiangsheng, Suyang couples - often with a gang of people talking about something, something a bit like painting the Western style of early modernism in the study Cezanne ah, ah Van Gogh, Picasso ah, in this category? many of them are university graduates, some from other provinces come back, and saw these paintings Zhang Long, the wild feel very, very bitter taste, "bitterness" at that time like to use this word, Shanghai is those paintings - he read that the paintings are in Tatian, he said that in fact you should go to Shanghai recreating the exhibition, he also recognizes some friends, in Shanghai, Ting to the disruption. He was recognized Hou Yi, and Xu Kan, Songhaidong ah these people, he said that the exhibition can be Yaotaqu contact. The few of us feel that being able to Shanghai to show, of course, very good. But also can not think of the past? Visited Shanghai once, in his first year in college or two-year time - on the beach, that Ting? Money at that time, that wants to do the exhibition, or to spend more money, just, At that time the company started, some friends started decoration, so we called, a major shopping centres to set up a time, but also to paint for collage, decorated with plexiglass do, but also to copy Picasso, a copy of Picasso's "Guernica"?
LI: (Laughter)
Mao: inside the exhibition hall, a copy of Picasso's "Pastoral", is a mural. Block earned dozens of money to do exhibitions. Entered this plan, now said to be a preparatory process. Early 85's when there is unfunded, and Hou Yi Zhang Long gave us a letter, saying that the basic good contact, cultural centers to find the Jingan District, said that this exhibition can be done, but we all bear the costs. Then calculate to a few hundred yuan. Booking is like 30 day money, but also do other invitations ah, ah freight, which had to themselves. May almost about it, in Kunming down to see this circle, or Bodehai, I, a bitter Xiaogang comparison, the number of works is a more basically are piling up in the studio, the studio not only houses, others are fragmented, and engage in a few days and do the things other point, do not complete. We communicate three or more, the decision to do this exhibition. Xiaobo then more than painting, he had prepared a 40 entries. I do, there may be more than 30 pieces, Xiaogang has Ershiqiba pieces around. Done a box on the eight - eight pieces, and sent to East China Normal University in Shanghai - Zhang Long school that the school, of a telegram to him, and said: eight pieces sent over. Zhang Long later said he was especially excited about their classes with students, taking tricycles put those pictures sent their schools, rejecting the single convertible tops, and that the place is leakage and later? We are almost at the a month's time to, and some paintings have moldy, and we went to care ah. This is the beginning, and then that the exhibition in the June 85, in Shanghai Jing'an District cultural centers do.
LI: I was adopted by Shanghai's Hou Yue send me photos to see these works, Hou Yue Huang Yongquan is with the students, Mr Steven Wong Wing-I have long recognized, he recommended that the good that the exhibition, Hou Yue the information sent to me. At that time, I have been laid off, all right at home pandas privacy. I still remember some of the details, I was sitting on the bed, open letters, Op picture of a place, and the sun from the windows directly into the work on the picture, it is the early 1980s, with some very different works, color and image very strong, with a picture in the dazzling sunshine SLR, let me that afternoon are very excited, because I think these works have a place, it was a 85 to six, in July, when Liu Xiao Chun has been informed me that they had to do a newspaper, let me father to help them run the newspapers.
Mao: "Chinese Art at."
LI: Yes, I would get that information to the newspaper. Later, for various reasons, it has not approved things, but there is a black-and-white news been placed.
MAO: It is a fashion all the various groups, and it is full of information.
LI: Do you exhibition or early, because the real is up 86 groups, 87.
Mao: that the exhibition in Shanghai in June after the organized, in July and get Nanjing running. Is also a very rare chance. On the one hand, I have a classmate of Nanjing called Yue Wu, with the home after he graduated from Nanjing to return to the inside, I went to Shanghai exhibition, he gave Xieguoshen that I and several friends to Shanghai do exhibitions. He also was excited, saying, can have the opportunity to do ah Nanjing. He said that he in Nanjing to see what can be show, but in fact, the Shanghai after we no money. Office in Shanghai is a three-day exhibition, the third day, I saw two people sitting inside the exhibition hall - young people, a woman and a man, and also point fashionable, but not his speech. Where we - it is not justified to person. She later come Zhang Zhen, is a poet, together with their North Island, she said, she was Zhen Zhang, and the other was her cousin, called Zhang Liang, she said that we liked the exhibition, we have asked What intend to. I said, no intention of playing the two days to Kunming. She said the exhibition should in fact - if given the opportunity and then to other places to show what a show. I said, no money now seems to have been the students of Nanjing has a link to help. She said, good, how much money in the end. I said, we do not know how much money, anyway painting moved to the Nanjing prison. She said that can be the case, I can take money to you. She said that this time she is back tourism. Her husband? Was a counselor of the Embassy of Sweden, or what. She said, I came back tourism, there are still some in the travel now can produce 150 money, and whether we can do something about it, in fact very close to Nanjing and Shanghai, but also not much money. We think that is! She has a mind, you can find a car with a car pull past, it is cheaper. We originally checked by train from Yunnan back, very hard. This said, also very good. Later on we went to look in Zhabei District, also found a really, to transport a car, not how much money they spend on those paintings sent to Shanghai, probably dozens yuan! This 150 actually saved us money. We took a train to Nanjing, Zhang Long, Hou Yue, and I Bodehai. I Wuyue students in Nanjing contact a health education museum in Nanjing University next. But there is also very good, booking the money as long as 20 a day. Tickets to the sold if they do not, we may have to. Therefore, in Nanjing when we have that income, and sometimes day ticket income with the sale of our photo exhibition works will reach 30 to 40 yuan. A dime a ticket, Haiting and more, we have a few people in the Nanjing food, housing are enough. Oh? Living is living in a friend's house. Dinner is enough.
LI: the participation of these paintings is the "red volume" of this series?
Mao: I basically paintings from the beginning of some 83, painted the theme of love, hugging ah, ah kiss? Volume and red, red and the body painting kyu Hill Group, the two parts, there are still some portraits - then Painting neighboring friends, family portraits.
Li: "cement house" that the series has not yet begun?
Mao: that time has not.
LI: 87?
Mao: it is 86, we do come back after painting exhibition is the "cement of human Room" that part Later, I called the "private space." The results will become part of this future, as a new exhibition in the works. Subsequently, however, will not do this kind of the original exhibition, from the "Zhuhai meeting" sets the pattern - Papers exhibition. (See picture) This is a new on the future, as the exhibition.
LI: I have these in my lectures in the. I have 85 times the number of small sub-topics on 79, the awakening of humanity at different times in different feeling, for example, in the early 1980s, in view of the high-grade, the Cultural Revolution, the leaders occupy the center of art, the artist works in a school leavers concerned about the plight of the little guy, from the artist's creative gesture, or a condescending attitude is the cry for the little guy - the identity of the rescue feeling. To you, and their concern is the immediate feeling of the tragic images of life, such as in the SHU Qun "85 times" advocates "rational painting", which to a considerable extent, it is through the arts to express their reading modern Western philosophy, thinking experience and understanding, and therefore very suitable for the use of surrealistic mode. The "85 times" in a surrealistic style, in addition to the above said reading through the arts to express modern Western philosophy, thinking of the experience and understanding of the works, the majority of work is only a style learned - pulled out in the background , the only objects in the scene, or the combination of two disparate things together, seem a bit absurd, in fact nothing personal feeling on the inside - a lot of this is. However, as you and I have noticed that several of the southwest, Anhui Chenyufei, Hangzhou Zhang Peili, Jian Geng Yi, and others, there is a touching things.
MAO: A comparison of boredom.
LI: Yes, boredom.
Mao: To compare the distortions. There is a picture of things in the privacy of their own inside.
LI: Do you feel that the life of boredom, and distortions to the image of the metaphysical, and into the performance of the works, I said in front of the image performance, and in particular the southwest of China in a language of the traditional artists .
Mao: when there is no personal life.
LI:! Have no personal life, these works is a personal social ideology was suppressed by the feel is vital to understand the feeling. In fact, after 89 periods Fang Lijun, Liu Wei, SONG Yonghong, Liu Xiaodong, who also inherited the traditional language, but they are not like where you are from the universal significance and metaphysical perspective on the performance of their feelings, but As for the drop-ping, of the day-to-day perspective. After this is the "parent" series, is 88 start?
Mao: 88, started painting portraits, beginning as yet no clear consciousness.
LI: I have noticed that the "parents" series of basic shape on the screen is sharp triangle.
Mao: Yes, some are triangular, diamond-shaped to deal with this.
LI: Why start with diamond think?
Mao: at the beginning of these portraits, there is one point imitate ... self-portrait feeling stressed zygomatic.
LI: with your own, right, right, last night I would like to say to the, I have been watching you next to associate with this portrait.
Mao: I think painting has been a body to imitate things. I include in the school, because I am thin, bone prominent structure on the students not to touch me, a very clear structure, and the zygomatic what clavicle ah, I also compare their own painting things on Guhan, there is also a kind of self-referential. 88 started when these people combined diamond, unconsciously called a "parents." After 89 to more clearly - would like to draw things. Or from the portrait began. 88 has also done some collage, and the parents together, and the stars together. Participate in a collage there are 89 "modern art exhibition." Later, a number of body painting only after slowly transition to Dictyopteris divaricata legs sitting in a chair in human feeling.
LI: and the prevailing social reality not?
Mao: I think there should be a more direct stimulus. In a time when 88 paintings, that thing is still rather vague. I think that the Tiananmen incident, what we are doing or not, that period of time every day are concerned about the development of events, people, and are in a very tense and very state of terror inside, very disturbing, I do not know Chinese society will be how kind. Results to August, the entire incident was quelled the future, I do not know how - I suddenly there is a particular thing clear: to paint. From the beginning of August, he would work harder in painting, I put my room, frame, the canvas all unfinished. State particularly good, the air seems to come out - to the very tense few months, it is the feeling of terror, it is disturbing sentiments of the venting out. And the feeling of finding a target. Another factor, in a modern art exhibition, I have come back after a self-examination, that is - to see their works in an exhibition on the East 1, West 1, and did not say anything like, but provided A state does not provide a particularly clear things. At that time, the exhibition, Wang Guangyi things, small things, particularly clear. Such an exhibition for me personally, especially the value. Want to come back after this issue has been, in fact, it Xiaogang, Yong-qing, or, we have been talking about this problem. We like how the painting was in the exhibition hall there is always a bit weak. Later in the analysis: say paint, we can draw, what can be painted, as if the lack of a clear-cut things in particular, this is one factor. Exactly, and then linked to political events. That incident prompted me? Original Prior to this, including in the 88, I plan a "parent" or a portrait from the perspective of their own lives spied on the perspective of the arts? Result, the Tiananmen incident However prompted me to think about their own country, and think about their own survival is the reality? Why is this? Why should there be such a thing? At that time to think rationally understand the Chinese society, the essence of a lot of things that China did not occur much change. This thing is long-standing, there is a deep soil? Such a system, the right structure. The original painting of "parents", 89 "Modern Art Exhibition" one, two: a yin-yang one of the two first. But at that time or in a relationship, it has not been stimulated by the reality of things. "6. Four," and like something relatively clear. Also has the power to draw a comparison? I feel more power in the painting.
LI: screen has a framework of things.
Mao: there is a central.
LI: right, center and the framework, there are 1.30, rhombus.
MAO: It is the beginning of the body sitting in a chair, legs also open the action, but also a kind of thinking, that seems to find a right, overbearing? Such a feeling. Find particularly interesting - this painting. Then China will suddenly like some ancient things, a construction - During that period, I often think of Gong House that the construction area, which is very heavy red color and structure - the rules are often thought China the palaces and tombs.
LI: stability.
Mao: very stable, as if nothing can be discussed. Special overbearing sense, therefore, when I wrote - that the tomb is like Chinese culture, Chinese construction ah. Is feudal culture, and the old furniture, and it is very interesting. Will slowly into the inside to own paintings.
LI: (turn "arch parents map" in 1990) later also used the scissors-shaped.
Mao: Yes! That is very strange. Westerners also use this arch. However, I would like to - I draw the arch in mind when China is still grave, Underground. At that time, I bought a book on China Palace, and then things kind of special love.
LI: (turn "parents Kaobeiyi 1990) as an underground palace walk from the past.
Mao:! The death of the tunnel. This is what is the reality and we always have, always affect us. So sometimes the ancient bell also on the "parents" this symbol inside. This country is too old, many deep-rooted things. At that time we are all longing for the modernization of things, in fact would like to, mind Ting despair - China will not be changed.
Li: On the one hand, some things changed so fast. (Laughter)
Mao: that is! Behind it is another to a sense of hopelessness. It changes the time, but not the kind you expect.
LI: Yes.
MAO: This gap is too great, when it is changing every day when you do not expect that thing. Really desperate. Therefore, I do not know - is our own problem, or what? Always reality and the changes in the distance.
Mao: Later there was the image of the key.
LI: There are Mending.
Mao: Special likes the color red. At that time, the only black on the palette color, white color and red color. (Turn to the "double parents map" in 1993) this is on display in Bonn, I have a painting before you in this photo, wearing a leather jacket. (Turn ( "right words" Group painting in 1993) in this part of the 93 "China's experience Exhibition" time.
Li: "Chinese tunic," I think that "parent" series, and "red volume," "private space" than the series, is no longer an image of the shape of the language, but converted into a symbol of the nature of language, a symbolic , but always retained the screen performance - a black and red strokes, a performance art "parents" of a hegemonic feeling, but also images of boredom and frustration with the emotional, now it is also still have a feeling of strength .
Mao: After that stage, it think that? Because at that time already? Fang Lijun, Liu Wei, generalized their new works have appeared, as if there is a trend - like, Pope? That particular time charm.
LI: Actually, I think you at this stage is only a transitional stage, I think you and Xiaogang have had such a transitional stage, in the early 1990s, a similar painting of Pope's work, it makes your transition to a series of scissors, I note that you then draw a lot of day-to-day supplies, to the daily life in some supplies refined into a symbol, in many daily necessities will always see in this image to see scissors, but you did not go inside to the Pope, but Scissors gradually from other daily necessities to extract out.
MAO: It may be yes. I also would like, why not go to the Pope that place. On the one hand, I think people have a good painting, there is? Indeed, the temperament was not very consistent. When they draw out the kind of things when I was painting, "parents." Each artist is not the same as the track.
LI: track, is not because of the artist's temperament, is a life and creative attitude, the Pope is a more optimistic, more spectator to look at this world, or is a Popi, humor, sarcasm and self-mockery gesture. But your personal feelings in the works have been inside, you see you then draw the day-to-day supplies, or the very performance, you can not own feelings of items from your eyes out in the vacuum. So you Zoubudao Pope inside.
Mao: Zoubudao, I think I follow the Pope's words - then I painted film posters is the Pope, and are hanging in the streets.
LI: Unfortunately, you are not to the film posters as art works.
Mao: only then is this discussion - I think in 93 years we have a few people, Spring Bud (Bud Zhou Chun), Wang Chuan, and I, Yong-qing, Xiaogang, in the reflection? These Artists often reflect on how our painting is not always clear, others see the things we always tired. Can not say all of a sudden, what you in the painting. Figuratively speaking, Fang Lijun, or who or hear this Tongkai one finger, it was so matter. But you around there to go around, in the end say? Such introspection, or have an impact on this discussion, and will then add some more straightforward image
In a reflection of the thinking then, the painting Chinese tunic ah, ah gesture of a painting, write some text ah, are looking for some of these changes. Also seems to be in the situation and the prevailing culture to find a relationship, to find a more appropriate relationship. However, it is indeed difficult, these people are very difficult to access to the inside of that Pope. What is the reason in the end I was not very clear.
LI: is your personal feeling has been painted inside, you infatuated with, or is your heart to the fact more of a personal or emotional, personal feelings.
MAO: This is still very important to me, this is very important.
LI: You got rid of this, you are not a Nagymaros.
Mao: the attempt to change, it has been a thing or Qianzhaozou.
LI: Yes.
Mao: I secretly pushing, you should be your own look. This process is very painful, because the trend out later, the influence is obvious. His own path is not headed in the wrong direction, and sometimes I would doubt, because at that time with more than one word is "targeted" Sometimes I think, I targeted in any place, I targeted What is the relationship between today and no. Old immersed in a few of their own problems above. ? Doubt will, in fact in the early 1990s, my personal feelings and particularly bad state.
Li: In your inside you have been infatuated with the art or what I have just said is not from the choice of the image of the detached from their own feelings, a lot of symbols you choose, but for the fact you are not symbols, symbols is a rational pumping away, you see, Fang Lijun the skinhead ah, Wang Guangyi of the critical ah, this is a direct sign from the social Lin came up with a "Glossary", and the community has a direct bearing on them, it is like a bystander, like a wise man. But you have maintained the tradition of artists not for the strong personal feelings, so you are always likely to be developed into a symbol of the Pope things into inner feelings, and then to the emotional venting their hearts out, you see you These day-to-day supplies finally selected a pair of scissors, and images into a language - Unspeakable images, rather than Pope and social symbol that there is a relatively clear direct relationship.
MAO: It is likely that the.
LI: Because a pair of scissors inside, including the sharp scissors of ah, in fact there is a heart inside it? You with the soul of this state and the mental stimulation ah, in fact?
Mao: There have always been things a struggle, one of the things that can not be untied
LI: untie also unnecessary, because that is what you inside the most important thing. Full of symbols you, and you become Wang Guangyi, it is meaningless. This is not something that Pope can say clearly the relationship between him and the community, the image that is the hardest thing clear.
Mao: that it might be so, and may also be the case, the meaning of it?
LI: meaning is rich! With a hidden meaning of the emotional state.
MAO: It is not a specific.
LI: Yes, not a specific. Andy Warhol is not the "Coca-Cola" and "Marilyn Monroe", and the consumer culture that direct relationship.
Mao: too clear. 94 when I got home there. Because "parents" also stopped. (A look at the "day-to-day series," works) banner, it might be a little bit of the public, is usually linked in the office inside, or inside a unit. Like this type of items: key ah, ah bench, the home is more space inside the things. At that time, no parents, the only family inside chairs, and other daily necessities, bottles ah this type of thing.
LI: Chen Min painted a number of things you like this. Is the backpack ah, ah cup, are a bit like painting.
Mao: Yes. For some time, I think the concern we have two things in particular similarity? State ah, a pen knife techniques on. Scissors slowly emerged on the inside, as a protagonist. (A look at 1994's "day-to-day epic" series) This is a rather early, scissors is one of the things that time, the old medication? Yueguan, tablets, and water bottles. A lot of my paintings are not shown. This is life inside the district,? One month, our family lost three or four bicycles, is caught in a vicious circle inside. No way, only a few paintings about painting said. I am particularly good a car swap, particularly pained.
LI: One year, six months, I lost five bicycles.
Mao: I went to work in time to push a bike, a look! No car, a lock, throwing it onto the ground - like a snake like throwing it onto the ground. This is 96, 97. Do not know - I moved to the village from the peace camp palm, as if from on the quality of life should be improved, peaceful village environment, you visited, you also visited Tree Camp, a large area than in the past, the environment than more orderly past, but, in fact, I Zhuzainaer special feeling uncomfortable, it is in a city on the verge of the original are surrounding farmland. I was also in the nearby rural inside rented a studio that day to watch the development of the land destroyed by the enemy, a house - monotonous district, and then kind of noise in the (site), environment, law and order is particularly bad, you can swap several bike in a month? a family, we all use what security cage - really is that this change?
LI: Yes, in every city we have seen all the same phenomenon, a uniform monotone complex, each with an installed anti-theft iron railing, as living in a cage.
Mao: I Read from my studio is a slum, all Danmianwa absolutely no insulation, especially tragic. (Read "scissors and Xishan Dianchi Lake" in 1995) I think this kind of scenario, the Western Hills, Dianchi? Sometimes think? This?
LI: contaminated?
Mao: right, a polluted lake, the Western Hills? Should be in Kunming people's mind, the two things are particularly important and particularly the good things in the Western Hills - Sleeping Beauty, a lake? On this? ? this period also drew a few self-portraits (read "scissors and your fears with" 1996) - This is the feeling of marriage (read "scissors and your marriage together." 1996) -- -- collage some plastic bags, magazines (read "scissors plastic bags" 1996).
LI: fight them in the boost or painting?
Mao: fight them in magazines is a boost to a paste, paste them in plastic bags is, this state to the end of 1997 when he simplified, and gradually transition towards relatively flat.
LI: This is the painting-with the entire Southwest by Richter, the impact of this has not? And the entire southwest China, many painters painting by Richter, the kind of influence. Zhang Xiaogang they did last time an exhibition, I forget what year, and I just arrived in Chengdu, the Office for a progress - wow! At that time I said the words: virtual, short, fair, and are painted in comparison Xuxu, very short, showing no depth.
Mao: ah? On me personally it? Richter, of course, I also know that, but I understand that the Richter probably true, desalination, but also rich-some, I feel.
LI: always been richer, I think the best thing is to use this Xiaogang - people do not see a transformation to trace. Many people with more direct.
Mao: too much, too much? Very overcharging.
LI: too much, I have sent the country to receive these pictures, wow, too much, (laughter) I do not know they do not trouble trouble..
Mao: I now want to simplify, and sometimes does not want to be the last to become an abstract, half of the scissors, and then a quarter of scissors, scissors first, a look at a Xiaobo - Oh - the first scissors , very good!
LI: I have not seen many.
Mao: this does not mean that I feel that very clear. Now many people do not understand this-James, many people will mention this issue. Many people occasionally feel that after reading 12 not understandable, and some are friends, it would say? I still prefer your original painting, is generally like this, I said, wow - I said that I like the original thing only? seems, is not the same mentality and the original, it was such a feeling
LI: This is not a matter, because their work is with the psychological state of change.
Mao: The Special is the end of 1997, when I was traded to a better house when? In fact, I think that feeling is cold, the heart is cold.
LI: Ping Tu is not on the daily life feeling somewhat mediocre, dull.
Mao: Yes, this is something, there is not much passion is the only self-bladed point where things are.
LI: Yes, there are only the first blade of the scissors still sensitive and sharp. You basically a very emotional and artists, with the constant changes in mood.
MAO: It should be a good thing!
Li: it is difficult to change the individual, Benxingnanchi.
Mao: I especially like before August 5 period painting those young people is the most do not understand, they think that the most disappointing thing is I - how I painted things such as mediocre, like no expression. I did also say that it is very difficult for them, I just feel that now that there is really no state, and - speaking from the heart felt, in terms of this era, how sexy outside, and the inner feeling cold, the whole feeling cold the.
LI: I understand, it seems that, scissors from the "day-to-day epic" in the day-to-day items gradually highlight, and you even see you on the day-to-day items such images choice, also named as Epic, and the Pope's gesture widely divergent , Pop Art images of the day-to-day choices, is based on a non-sacred image, popularity and the popularization, is a comedy with the gesture. So Although you chose as your day-to-day items of the screen image, but you can not come to Pope, it is also the day-to-day items you are painting very emotional performance and the reasons for, as it is for you the attitude of the daily life of mediocrity, and is full of a sad thing, and here is not everyday objects Pope eyes of the popular artists of the symbols, but caused part of the daily life of sorrow, as you just talk about their daily life, filled with a helpless sadness You said you feel the cold heart, There is an old saying in Xinsi great sorrow, which is close to the death of a heart feeling, scissors in such a mentality emerged, and from this perspective, I would like to see the scissors should be colder and more bleak sadness. On the other hand, from modeling perspective, a pair of scissors and parents there is a formal link, I remember that I had asked you what is changing from a pair of scissors, you say that parents sit back in the form of change. Now I put all the parents Kanguolai, this is true, but also you said earlier you imitate in their own image - changing shape of the parents, we can see you from the late 1980s until now works in the modeling on the trail, you see these parents, the first and positive diamond sitting posture, the emergence of a pair of scissors is natural.
