Fang Hui:Deep and Profound Images
Source:Artintern Author:Chen Xiangpeng Date: 2016-08-03 Size:
A remarkable thing about the world is that no matter howintricate it has been……

XU Fanghui 2015

A remarkable thing about the world is that no matter howintricate it has been, a simpleimageis always presented in front of us. This isfascinating, attracting painters to do their work on the basis of such simpleimages: opening, hiding, increasing,reducing, exploring unknowns, burying stories, creating originalities andweaving sentiments. When painters leave the studio for the exhibition hall, images once again return to simplicity, just like a newleaf delivering the fresh scenes of the world.

Fang Hui depicts aseries of people—juvenile in white shirt, girls with braids, dance learnerswhose hair is tied up, youths wearing sideburns—in a modern and controlled way.Thesevibrant figures are simply drawn with elegant and classical styling, bold colors and fine lines. Paintedon large canvas, these figures, with high expectations, are as clear ascrystal, reflecting the world from various aspects while maintaining their owncharms.

FangHui is obsessed with images.He begins to draweverything comes into his sight since four years old when he could grab apencil. He loves the gloss on leather, the depressingblack box of the camera, restlesspostures on bicycles, etc. He believes those things have more meanings than weknow. People who have painted on canvas with a brush know that painting is avery special language that can make imageskeep glowing. Someone call it strangeness, some others call it personalizedlanguage, and some people think it’s divinity.

Such obsession drives Fang Hui to deliver a pure image that becomes immortal bytranscending time and stories, just like the butterfly specimen collected bynaturalists — an existence that is precise. There are no shadows on hisportraits, and facesare not under any specific lights, because he abandoned thetransient images to obtain portraits that are specimen-like and ever-lasting.

With a close and careful view, you’ll see that theseportraits are not actually “specimenized”. When persons directly look into theeyes of audiences, your view is also attracted. Gradually, your view will thawthe superficial indifference when the message approaches you from far away,little by little, you see more and more dimensions and dynamism.

FangHui incorporates the sculptural sensewith the plane, and you can see from the huge portrait that the rise and fallhave been subtle, and the implicit skill resembles the current under ice sheet.In the studio, the shrouds of changes present very complex suspensions,becausethese are not meant for an exterior show-off, rather, they are aimed for adelicate concealment.He shifts the externalized painting into an internalizedone with layer upon layer of significance, so the painting is clean and eleganton the surface but ambitious within—a typical oriental character. FangHui has been doing the portrait forChinese people, and his obsession withimages allowed him to be attracted tosignificance and open access.

Fang Hui prefers Chinesefaces than Western faces, prefers hills than mountains, prefers the closenessof object than it’s relevance. He then enjoys the pleasure in the figurativeworld. Like polishing silverware, Fang Hui “polishes” the cognition and getsfigures. He decodes and recodes images through modifying, surveying, andpurifying, over and over again. From a remote and slow perspective, he conveysthe profound and elegant images which have experienced the world. Painting andwatching resemble the process of freezing and thawing. Below the peaceful portraits,there are undercurrents—the seeming idealized images are reverberated by hiddenpersonalities. It’s subtle but lingering—a well-behaved child is hostile, and ademure girl possesses a sense of vast devastation. Appreciating these familiarand rigidly standard images for long, you can fell the freshness of the firstencounter with them. It’s so fresh that Chinese, at all times, are reproduced.Boyhood dreams and temperaments fly outof these specimens.

Fang Hui loves images asthey carry information from afar. Painting is neither packaging of ideas nor cheapappendage to sociology. Life is so important and narrow, restraining theambiguity and concision of images. True meanings lie behind images — thereexistsvitalitythat will never be simplified by sense, transcending ourselves.

Shenyang RailwayStationalways remains in Fang Hui’s memory. He depictsbuildings like Catholic Church during the first period of his art career. Timeflies. He has gone to the station for various reasons. Itbecomes more charming,remote and friendly in Fang Hui’s eyes, like a jewel with affections and scenessealed in. As a painter, he loves images, and dives into that deep and profoundworld like a child,who starts to learn painting, longing for infinite games.

[Editor] 姜鑫