Introduction of works

There is no culture, no story, no era, and no history in my work. It is only an exploration and dialectic of some objective laws in art that are not shifted by subjective will. The works at this stage focus on the three most basic problems in painting to explore and solve:

1.Every part of the painting is what you meant to paint.

2.Every part of the painting has denotation.

3.Every part of the painting is unquestionable.

1. Every part of the painting is what you meant to paint: When the painting of things have shape, can do every part of the painting is what you meant to paint .The answer is :No. when you are interested in something, you are not interested in the whole of it. Likewise, when you want to paint an object, you do not intend to paint all that you see. But the form of the object determines and presents the visualized whole of the object from a certain angle. Secondly, each and every bit of this object seen from this angle is defined and arranged in the position of common cognition. Thirdly, the form also forces out of the scene the other parts that cannot be viewed from this angle. However interested you might be in some of them, you cannot paint them. Due to the restriction of the form, you cannot make every piece of the canvas what you intend it to be. Take the front facing portrait for example. Its form determines that all the five sense organs, i.e. the nose, the eyes, the mouth etc., all that face front must be painted. It also determines that all the five sense organs must be painted in their designated places. It forces what is not included in it (e.g. the back) out of the scene. If you just want to paint a model’s eyes and her back, it cannot be done when the form is existent. In this situation, it is like the object’s outer form is giving you a blank-filling question, where all the content and positions of the answers (the five sense organs and the front parts of the portrait) have already been provided. All that you can do is to just fill these answers into the blanks beautifully. Whether you like the answers or not, you have to make them as perfect as can be. When the form is discarded, the question is also nullified. You can include only what you like in the painting, thus making every piece of the canvas speak what you intend it to. 

2. Every part of the painting has denotation: When the painting of things have shape, can do every square millimeter of the painting has denotation. The answer is:No. there must be a “background” produced beyond the intended image itself, unless the form of the image matches exactly with the edges of the canvas. However, it is solely the image that the artist intends to depict. The “background” is nothing but a compelled byproduct. Being uncertain and unnecessary in itself, the background should not be deemed, in a strict sense, part of the painting. When the outer form is discarded, so is the background forced out of the scene. Hence, each part of the canvas is endowed with meaning, i.e. each and every bit of it is what the artist intends to paint.

3. Every part of the painting is unquestionable: when we see a painting, we would call in question the use of its colors, its composition, and its lines, etc. In other words, as long as it is human work, every part of it can be questioned, for any color, line or stroke in a painting is a result of human subjective consciousness. However, we can never question the spots distributed on an egg, or the scratches on an apple, because they are not results of human will. When non-subjective visual elements are integrated into a painting, the painting will become, to some extent, unquestionable.