I am a new artist who graduated from London Metropolitan University and get my Master degree of art,design and Visual culture. I would like to continue my study of PHD about art and visual culture in next a few years.
what I am focus on is contemporary chinese art with the context of globalisition , multiculture and nativism.and also Neo-Eclecticism.
I was grow up in one chinese traditional teacher's family. my grandfather was a teacher in the late of Qing Dynesty,my parents are tutors in the university.so that i got a lot of influence of chinese literati art,you may feel this when you read my works.
I have learn paintings for 14 years since I am a little girl.the area i touched is from sketch,drawing,portraits,colour paintings,figure drawings,oil paintings,chinese calligraphy,chinese inks paintings(moutains and clouds；birds and flowers;xieyi paintings;gongbi paintings);sculpture,fashion design.
I got the reward of excellent designer of fashion in 1999 in china,Copper reward of industry desgin in 2000,distinction graduate student reward of bachelor degree in 2002,and Master degree in london 2006.
I would like to continue my research of fine art and visual culture and i am planing to have one exhibition with my friends in a few years.
I want my works coming straight from the culture and I situated space in and across with, they have abandoned all affectation and so are necessarily natural. They come from my individual and unique experience of life. I want my works to be interesting and possess a feeling of the times. Everyone is limited by the times in which one lives and it is impossible consider things disengaged from the environment in which you exist, just like Michaelangelo, Rembrant, Wharhol, and Beuys we too are unable to resolve some of the problems we face. 'Pen and ink follow the times!' Therefore we need to examine conventions and though it at break free to produce new art. It is my desire that my works possess certain balance integralities of element. I want to be able to coordinate the creation from concept to production so that any contradictions and sentiments as well as conceptual changes in the work can achieve a kind of integrality
Here the integrality in my paintings is as the balance. I hope that I could keep the balance whenever I would like to use whatever way to communicate with my audience. When I read some view of Gu Wenda's opinion, who is an artist work in American, he said, "for the artist the most hard thing to do is keep the balance in your works, for example, if you want to use your both eastern and western elements in your works, you must get that point which is the balance between east and west. If you use any of them too strong, your work would not be understand or misunderstand. "
I focus on works of art that explore the complex relationship between culturally specific issues and larger developments of a modern/post-modern age. Within this context, I am trying appropriating and transforming both conventional Chinese aesthetic idioms and contemporary Western vocabularies to negotiate the cultural differences between past and present, self and other.
Just like Chinese has its long history, its culture exists and survival for thousands of years and keeping its life. Traditional paintings have their huge power to keep me stay in it, but I moved on with modern techniques. Several period of Chinese art history I involved into my MA research as the traditional spirit, Such as Bronze Age cultures' calligraphy, song dynasty calligraphy, Tang dynasty paintings; Chinese the Great Proletarian Cultural Revolution, each of them stands for one piece of Chinese art history.
My research has the relation with Chinese philosophy of aesthetically evaluation of the composition- "Ma-Hsia style". They used "oblique scenery" compositional techniques in their landscapes. It is a style of painting named after Ma Yuan and Xia Gui, two great painters of the Southern Song academy, of which they were members in the last quarter of the 12th century AD and the beginning of the 13th century. The aim of their landscapes was to create a feeling of limitless space, a vast atmospheric void out of which a few elements. Drawing on the expansiveness found in the Northern Sung tradition, they created views with less brushwork. Mists became an important device to suggest landmass and to give the painting a light, ethereal quality. Ma YŁan was often called "one-corner Ma," as he would restrict much of his painting to a single corner of the work, leaving the rest blank. This technique enhanced the sensation of open space and suggested infinity, qualities much prized in the Ma-Hsia tradition.
Aesthetically evaluation of the Yin and Yang; Using Photoshop to put this calligraphy in the pictures, I changed the calligraphy into two different way which stand for Chinese philosophy- Yin and Yang. I changed the proportion between the calligraphy of Yin and Yang.
Aesthetically evaluation of the colour; the same colour has different meanings in different countries. How we understand its meanings in this globalization time? Mixed or separate? I invited the red colour into one of my works when I doing my MA study. Red, as we imagine it, as an endless typically warm colour, has an inner, highly vivid, lively, restless appeal, which, however, does not possess the irresponsible and self-dispersive character of yellow, and, in spite of all energy and intensity, it creates a strong note of almost tenacious immense power. It glows in itself and does not radiate much vigor outwardly, achieving a manly maturity. (Kandinsky) However, in china, red has its special meanings in another sense, especially when the red colour comes with the black calligraphy on it. That maybe because of one period of Chinese history- culture revolution. What I did in this picture is choose the dark and light calligraphy of Mao style and used red colour as my background to invite the audience back to Chinese the Great Proletarian Cultural Revolution.
Aesthetically evaluation of the different calligraphy I invited into my work. Their esoteric narration is meaningful and mystical. I wanted to translate this calligraphy into a contemporary picture, combining them with my interpretation, injecting them with feelings.
I hope that my works convey new ways of encounter between Western and Eastern aesthetic and spiritual tradition. More practice works I would like to do about transcultural encounters in contemporary Art, I will never stop