Lines Invaded and Kidnapped
Source:Artintern Author:Yuangong Date: 2008-11-07 Size:
The relationship between the personal situation and the social participation only describes the outward parts of culture without touching the inward core.


The artist in his daily experiences usually resorts to psychological intuition to represent and express his understanding of art, and when the integration of nature and body, lines and landscape becomes the essence of the propostion, the represented aesthetic standard is nearly illusional and vacuous. The relationship between the personal situation and the social participation only describes the outward parts of culture without touching the inward core. However, the said personal experience is both sensible and artistically formal. In its representation of beauty with flowers, modernity with antiquity, art is certainly romantic when time itself seems to be manipulated. But when playing lines of body, landscape and abstraction like fish freely swimming, it seems we do love life and become artistic. That, in fact, is only a wishful thinking of artistic imagination, by no means the essence of art. Today what we witness are the works out of the artist’s talent and intuition, his self expression is both instinctual and truthful. There is a gap of artistic representation between the artist’s communicative psychology and the social reality, and the artist is painfully caught between universal and individual values. We simply cannot play with art by playing with body, which is too much a burden! Those painful and melancholic eyes of those vague characters in the works obviously reveal the artist’s personal hints and internal pursuits.

In the painful eyes represented by the artist, those mysterious lines are also alienated with the pains caused by invasions of the society, and the pains spread to the defensive lines of his psychology; when the essential interests of life collapse, that gradual alienation becomes metaphysical and transcends the limits between matter and mind; perhaps when we praise the body and fish with today’s sense of fun, and when sneaking lines no more represent the abstract delight, we would finally realize the spiritual “Wall Street down turning line” is exactly the pain of those painful eyes. Artistic and flowing lines, connected with that financial down turning line, shake and accelerate the down turning line of Sotheby’s auction of Chinese modern art. Who can stand aloof and at ease? Art, body, fish, landscape and lines are mercilessly invaded and kidnapped, and they have to resist the pain of social separation. There is pain in art, and problem means art. Do we stand aloof, or do we go on with art?


Today’s generation of art is more social than philosophical and psychological. Artistic talent and imagination are certainly necessary, but artistic values are critical, which determines the future value of art. It is painful to make a choice between the two. In those profound scenes and struggling expressions, maybe everything is being changed or being changed in pain, and those comfortable and delighting lines are only superficial…. The artist’s metaphysical lines amidst the multi-facet social conflicts might be lines of artistic forms, or might be political or financial ones; in the interchange of artisticity and sociality, the function and value of art become obvious; the information society at this age of globalization is pushing the artists towards being socialized. If art fails to tackle problems in the social reality, the artist lacks in his foresight. Any escapism with art, any attempt to make art an independent entity of aesthetics, is just like mansions in the air, without any foundation for existence. Of course art is an existence of multi-direction; all forms of expression have reasons to appear.

But I do like those problematic, anxious and painful eyes, which point to a truly social awareness; and it concerns the essence and values of art, concerns the pains of you and me, and concerns the invaded and kidnapped.

[Editor] Mark Lee