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Hu Zhiying
Remake Bacon --- Bat and Rose(3) 2004-2005,
oil, acrylic,
Chinese varnish on canvas,cm 196×153
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Hu Zhiying
Remake Bacon ---Female Wrestling(1) 2005,
oil, acrylic,
Chinese varnish on canvas,cm 192×153 |
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Hu Zhiying
Remake Bacon ---Female Wrestling(2) 2005,
oil, acrylic,
Chinese varnish on canvas,cm 192×153 |
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Hu Zhiying
Remake Bacon ---Female Wrestling(3) 2005,
oil, acrylic,
Chinese varnish on canvas,cm 192×153 |
After making a penetrating study of traditional
Chinese culture and the history of Western
painting, imitating artists of the abstract
expressionist school and experimenting with
and producing ready-mades, I have taken up
painting again. In the last 15 years I have
been exploring a question I call “cultural
contrast”, a broad field that I aim to explore
further. In notes on my works, I write: “In
my work I combine the constant cultural value
of the symbols in Chinese painting and the
unfolding eclecticism of painting taking
place in the West.” I combine Chinese traditional
landscape painting with the elements of vary
art styles in the West. I like to regard
my works as equivalent to the real world
and not merely a documentation of it. My
paintings frequently synthesis imagines of
many kinds of objects, where those in the
background often change places with those
in the foreground.
My works illustrate “cultural
contrast” as
an abstract and concrete field
of knowledge.
When the viewer tries to discern
the origin
of this field and identify the
relationship
between the themes of art and
their prototypes,
they are likely to lose themselves
in the
dreamlike realm of the paintings.
In my easel
paintings on canvas or board,
apart from
conventional materials like ink,
oil and
acrylic colors, I apply gold
and silver power,
Chinese Varnish. These materials,
expressing
an archaic mood in a multitude
of imagines,
add substance to the “cultural
contrast”.
The various materials, the diversity
of images
and the glossy surface are easily
identifiable
with the bright yet unstable
reality of the
world in which we live, and at
the same time,
imply a dark, mysterious world
lurking beneath
the dazzling surface.
The series works "Remake
Bacon"
is, recently, based on above,
and uses for
reference the certain elements
of Bacon’s
art to be the more prominent
power of the
intense images, more directly
enter the person's
soul dialog or the monologue.
To use oil,
alternately, acrylic with the
unique material——Chinese
Vanish in different level alternate,
lets
the work have a superior visual
effect, but
this quotes the Bacon’s art elements,
and
converges with others art elements
in the
dim atmosphere which the elements
become
vary outward appearance and substantive
content.
The vehement contrast between
the intense
brushwork and the strong color
display those
non-conventional changeful and
extraordinary
images and the soul kingdom,
the pictorial
technologic language and the
profound artistic
conception in harmony.
By Hu Zhiying
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Hu Zhiying
Remake Bacon --- Baboon and Nun
2005, oil,
acrylic, Chinese
varnish on canvas,cm 196×153
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Hu Zhiying
Remake Bacon --- Bat and Rose(1)
2004—2005,
oil, acrylic,
Chinesevarnish on canvas,cm 196X153
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Hu Zhiying
Remake Bacon --- Bat and Rose(2) 2004-2005,
oil, acrylic,
Chinese,varnish on canvas,cm196×153
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Hu Zhiying
Bacon's Dream and Sex(1) 2007,
oil, acrylic,
Chinese varnish on canvas, Triptych,
each
panel cm 192×153 |
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Hu Zhiying
Bacon's Dream and Sex(2) 2007,
oil, acrylic,
Chinese varnish on canvas,
Triptych, each panel cm 192×153
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Hu Zhiying
Bacon's Dream and Sex(3) 2007, oil, acrylic,
Chinese varnish on canvas,
Triptych, each panel cm 192×153
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