In recent years, the creation of qionghui zou, a young painter, has continuously attracted wide attention from the art world, academia and collectors, which has led to people's rethinking of easel painting and easel art. Among them, there is bound to be a creative trend which is generally concerned by the art world and a more concentrated topic.
——Zhenglun Qiu
an art critic and curator in China
To the Future New World Series 007,Mixed Media, 15.7''X11.8'',2017
Many critics focus on the creative process of qionghui zou's works from the theme of creation, that is, how to interpret the series of creations such as cicada bosom, cicada language, Zen realm, couplet era, butterfly and dream butterfly, and the corresponding sublimation process of life realm. I don't intend to discuss qionghui zou's creation from the angle of cicada's bosom to butterfly's sublimation, but try to touch his creative direction from the life consciousness expressed in qionghui zou's creation and the creative technique change displayed by expressing this life consciousness. The author attributes this creative orientation to oriental material expressionism and abstractionism with Chinese characteristics. Perhaps it is this oriental material expressionism creative orientation that constitutes the mystery of the internal structure that qionghui zou's creation has aroused widespread concern in art circles, academia and collectors.
The contemporary art topic triggered by qionghui zou's creation focuses on the revolutionary measures of qionghui zou's creative style. First of all, she broke the creative barrier between easel painting and easel art, realistic art and abstract art. Previously, people either looked up to the sacred height of easel painting and rejected all creative behaviors opposing it. Either the easel art is overthrown, dismissed as tradition and conservatism, and the artistic creation is degraded as random audacity. qionghui zou avoided these two extremely hostile practices, and sought and rebuilt new creative space between the shelves and the lower ones, so that the wings of cicadas and butterflies could fly freely between the shelves and the lower ones. To put it another way, qionghui zou no longer chooses a side station in the queue of painting on the shelf and art under the shelf, but respects his artistic will to explore unremittingly. She has always believed that the truly eternal artistic highland is the free creation of eclecticism and the dance of life launched from it.
Next, the question is how qionghui zou opened up a brand-new artistic creation performance space between realistic art and abstract art, easel painting and easel art, which is the mystery that her creation has attracted wide attention in the art world. This brand-new artistic expression space mainly focuses on two aspects: first, the unconscious creative intuition of female artists constantly pays attention to and expresses the life existence state of Zen insects; second, it adopts the language method of comprehensive materials to experience, excavate and construct multiple expression spaces of the life existence state of Zen insects. It is the deep excavation of the living state of Zen insects and the experiential application of comprehensive materials that make qionghui zou's creative space wider and wider, and thus strengthen the aesthetic expression tension between the easel painting and the easel art, and make the audience constantly question and expect her works.。
In fact, comprehensive material painting is undoubtedly a new trend in the development of contemporary Chinese art, which is born with the development of the times and grows with the needs of the times. Although comprehensive material painting appeared in China for a short time, it did not affect its vigorous development momentum at all, and soon became a hot topic in the art world. In modern society, the edge of the concept of painting is gradually blurred, and the boundary between easel painting and easel art has been broken. Art creation needs to use more means, materials and techniques to express emotions, feelings and ideas, and to express content and themes that have not been expressed by predecessors. In the face of people's aesthetic needs in the new era, it is definitely not enough if we only use the inherent ways and means that have been formed in history. Therefore, comprehensive material painting will appear, which is also in line with the historical development trend. At present, there is no final conclusion on what kind of artistic style comprehensive material painting is. Explain its connotation in two sentences, that is, "the evolution of material techniques of single painting type, and the mutual infiltration and integration of multiple painting types or multiple material techniques". There are two points worth considering. One of them is called "evolution", and it is not enough to innovate and expand simple techniques. It is also necessary to evaluate the current creative state of multi-national art and think about what Chinese art really needs. The so-called evolution is to change the master of the original concept of this painting in essence, to study and inspect the achievements of international art, to launch and dispatch the creativity of Chinese art, and to truly connect with the international community. The second is "the mutual infiltration and integration of multiple paintings and materials". In the current painting form and overall pattern, as the growth pole of the mutual infiltration and integration of single painting and multiple painting techniques, comprehensive material painting plays an important role in reflecting the cultural concept of keeping pace with the times and the diversified artistic expression of contemporary life, and in establishing the epochal and international image of Chinese art.
Cicadas Zen Series 008,Mixed Media, 15.7''X15.7'',2016
In her creation, qionghui zou consciously broke away from the rules and regulations of traditional painting, consciously broke through the techniques and procedures of easel painting, consciously dismantled the various boundaries and barriers between easel painting and easel art, and consciously let the creators sneak into the unconscious feeling field and get rid of all realistic rational imposition. Whether this kind of getting rid of and breaking through completely negates the cultural tradition of easel painting from the level of realistic creation, of course not, on the contrary, it makes the oriental aesthetic tradition of painting really join the artist's realistic creation as its independent aesthetic spirit. The understanding of comprehensive materials can't be limited to discussing materials in terms of materials, but to make materials speak again and show a new look, instead of simply looking for answers on the technical aspects of materials. Even the comprehensive technology of materials is not the purpose of comprehensive material painting. Comprehensive materials are only a means of introduction, a medium, a starting point for the creation of new paintings, and a spiritual viewpoint for artists to re-examine the art of painting. It starts from the artist's understanding of painting and materials and the concept of joining them, so that materials can show a new scene in the brand-new encounter with artists. This new scene is the artist's realistic torture of materials, forcing them to tell their own visual mysteries.
When creating, qionghui zou had a very strong creative experience. In the process of her creative exploration, she tried to integrate calligraphy, seal cutting, ink painting and other artistic forms into the picture for comprehensive treatment, which was made by unique Chinese techniques such as knife cutting, splashing and polishing. This is only from the technical aspect of the creation of the works, but the artist will never stop here, and all the purposes are not just to show the world her super ability to dispose of various materials. Furthermore, from a far-reaching point of view, qionghui zou added rich local cultural factors to various materials, which made them show the memory images of the remains of Eastern civilization, and at the same time, made the audience have multiple meanings of reading context, which was not only an authentic Eastern spiritual tradition, but also an extremely contemporary aesthetic orientation.
In qionghui zou's view, comprehensive material painting is not a novelty and novelty seeking thing, but an inevitable product of the development of the times and a visual response of the oriental collective unconsciousness in contemporary society. qionghui zou condensed and transformed this oriental collective unconsciousness into a creative will, and used it to recycle and cast the waste materials piled up in disorder in reality. This kind of material expressionism is both extremely oriental and contemporary. If we can't bring the tradition of oriental culture to today, the so-called contemporary art will not exist, and the comprehensive material painting will no longer exist. Comprehensive material painting is a spiritual element excavated from traditional Chinese painting, and penetrates this cultural spiritual element into the material level. It should be said that its application value is not possessed by a single painting type, and it is also difficult for a single painting type to complete. If we don't fully study and understand the extensive application value of comprehensive material painting, it will directly affect its academic value and social value.
Breaking the boundaries between easel painting and easel art, realistic art and abstract art, and adopting oriental experiential creation of comprehensive materials is an extremely challenging creative way. qionghui zou's creation makes us not only see the existence state of Zen insects reflected by many metamorphosis, but also appreciate the hardships of qionghui zou's material art exploration. At the same time, we can also feel the unique charm of her original Oriental material expressionism. Because of this, it also shows the dazzling and colorful dance of life brought by her continuous transcendence.
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