Zhao Xiaodong have been migrant workers as oil painting subjects
Zhao Xiaodong have been migrant workers as oil painting subjects
this is the underlying flow between urban and rural population
. Dry, they sell their labor in the city, is the city the most reluctant to do manual labor, but not social security and social welfare of urban residents. In the city they are no root homeless, living in the city or the city is not very important for them. But they left the grandparents countryside of reproduction, can no longer live on custom oil painting land. Market economy lead to the differences between town and country, have changed their cultural identity and psychological demands, they have to return. Have to absorb China's urbanization process is such a group of rogue proletarians, in a quite long historical period they will be on the verge of a country and the bottom of the city.
The attention of the Chinese art of edge and bottom is realistic, which made Zhao Xiaodong paintings and contemporaries are very different. His classmates or looking for a cultural symbol, or self-image, rarely direct and candid attention to social problems. From this sense, Zhao Xiaodong seems to be more close to the generation of hand painted oil painting artists. If we compare the native of sichuan academy of painting, such as luo zhongli, you can find the relationship and difference among them. Luo zhongli obsessed with farmers, social realism gradually turned to culture in the eighty s to expressionism, are the main ways of the culture of agriculture civilization and rural experience and expression, although has shown farmers life changes. Zhao Xiaodong's farmers, the foothold has turned to the city, is the industrial civilization and the urban culture is changing and has changed the bottom of the crowd.
Zhao Xiaodong at the beginning of the migrant workers, will pay attention to in a straight forward manner, given the subject status of the object with painting imagination. Before its latest book is a phase of the work, in the premise of keeping the basic way of drawing and painting characteristics, significantly reduced property characterization and add the scene atmosphere foil. This and Zhao Xiaodong paintings gradually emergent problem consciousness. Both "accidental" in ordinary spectator apathy laughing on the sidelines, or "castle peak is still in the" rural ecological destroyed the helpless, artists characters and environment by the connection between the subject and object, more real, more specifically reveals the survival state of the object. It is worth mentioning that the painter is not in their own tendency to replace the subjectivity of the object, thus to some extent, to avoid the painter as urban intellectuals and the most easy to produce the kind of "humanistic care" commanding. Zhao Xiaodong, on the other hand, is the underlying autoimmune comfortable joys and sorrows, their happy, their boredom is helpless, their hard work, their worldly enjoyment and so on. The bottom has its own body sense and survival value, moral standards and spiritual pursuit, this is not the official specification, high standard can include the evaluation of good and evil or established. Is precisely in these nonlinear, non standard of living in the way of being, art can touch and reveal: in today's really desire and craving, yearning and struggle. This is Zhao Xiaodong genre painting is different from the past farmers, it is worth further to appreciate, excavation and expression of art
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