Culture

The Artists of Songzhuang Part 3

By David Friesen

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In this final look at the largest artist's community in the world, we take a look at five more of the most prominent artists in the area, and how their paintings reflect on the growing popularity of modern Chinese art.

Qi Wen Zhang (亓文章)

Qi Wen Zhang's art focuses on the human form in its most pure state, generally with nude figures in natural surroundings. Themes of Adam and Eve and creation seem to run through many of the paintings, with figures set in idyllic yet mysterious scenes of nature. Mostly male figures are looked at, although some female forms in slightly more abstract arrangements have also been studied. The technique tends to be fairly simple, sticking to the main focus of the art which is to convey the emotion and actions of those in the paintings. Although not abstract in nature, realism isn't religiously followed, rather allowing for expression over detail. There seem to be feelings of contemplation and reflection in the figures, as if trying to find their real identity. This is possibly a reflection of the changing nature of China, and that many Chinese are themselves searching for their true identity in this modern world.

Tao Si Rui (陶思睿)

This Xinjiang-born artist focuses on the beauty of water and how it interacts with the human body. The pictures use various shades and styles of blues and whites to create a highly realistic representation of water. In these water pictures there are always figures, or parts of figures. From seeing someone paddling their feet in the shallows to whole figures nakedly immersed in the blue of the ocean, the way in which the body interacts with the water is crucial to the flow of the works. Shadow and distortion are used to great effect to bring the water almost to life. One other aspect of the paintings that is intriguing is the consistent use of the naked female form, as well as the feet of individuals. Feet and legs are prominent in many pictures as are the nude forms of females, with a particular concentration on the vagina. This explicit focus on certain body parts perhaps signifies obsession or mystery surrounding the human form, in particular the places that are often unseen or private. It is also designed to provoke thought and perhaps even shock some people – mixing the serene beauty of water with the explicit focus on female genitalia.

Wang Nan Fei (王南飞)

Wang Nan Fei is a master of the use of shadow. Many of her paintings convey not an object itself, but the shadow that it creates in the world around it. This painting of shadows gives us a new and interesting perspective on many everyday objects such as bicycles and trees.

Wang is also no stranger to humour and satire, from cartoon-like self portraits to quirky pictures of nude females in positions ranging from high in a tower above Tiananmen Square to head over heals on a dining table. Wang uses a variety of styles and seems to move easily between eastern and western culture, perhaps because she spent a number of years abroad in America. Whatever technique she is employing, there is an exciting mixture of grace, style and humour in all of her works that makes them both intriguing and desirable.

Zhao Bi Qin (赵碧琴)

Zhao's portraits in water colour are an interesting change from many of the highly technical and detailed paintings of other artists. The use of simple colours and lines makes for painting at its purest. Whilst the technique might not be the greatest ever, the emotions and stylisation are still there. Like an artist painting their lover for the pure joy of it, Zhao's paintings focus on the female form in its simplest guise. There is no need for detailed backgrounds or realistic facial features, just the simple form of the woman in a variety of poses can provide all the necessary emotion.

Yi Chen(一尘)

Focusing on form and shape, Yi Chen has a number of different subjects. From the hard lines and giant scale of factory buildings to the intricacy and naturally designed shape of fish, YI Chen uses his simple painting technique to convey these images in their rawest state. The pictures are very much back to basics, although this is by no means a criticism. The main focus here is on the objects themselves – whether that object is a fish, a person or a building. Yi Chen paintings honestly capture moments and objects from everyday life in a thoughtful way, which makes these simple drawings warm and endearing.

From all the artists we have seen throughout this three part article series, it is clear that the future of modern art in Beijing, and in China as a whole, is bright. There are many artists with a great deal of talent and creativity, bringing their own ideas to established Western techniques and giving them a distinctly Chinese flavour. Let us hope that the Songzhuang community continues to be a breeding ground for creativity in the future, and that it fuels further communities to be established elsewhere.

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