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Chen Liangjie graduated from China Academy of Art, Department of Oil Painting. Like many artists born in 1970s, Chen Liangjie’s creations keep paying attention to society; however, unlike many artists of the same generation, in his works, there is no attitude toward reality.Read More
“For a very long time in Chen Liangjie’s works, he has tried to distance himself from the audience. He paints remote and open scene, while compresses the inner space, so that the space turns into flat, and one can only tell the distance according to the size in the picture... they always mentally consider them (characters in the picture) as ambiguous mini models, unrelated to us, like another existence. Once the people normally ignored by us are put into a scene without any context of daily life, “they” always present an abstraction of absence. The sense of distance between the works and audience come from two levels: visual perception and social psychology. In his recent works, it still exists, although in another way.”
In recent years, “Chen Liangjie begins to choose media images. The so-called media images are always “meaningful”. No matter to a terrorist attack, a huge accident or a piece of gossip social news, photographs and images are always been used in proving the authenticity of something. However, photographs are always ambiguous and even quirkish…When Chen Liangjie transfers those images from the news website to the canvas, he is actually restoring the opaqueness of the images’ inherent meaning…However, for the visual requirement of paintings, a photograph looks always empty, therefore, many “photographic paintings” use thick pigment and heavy brushwork. Different from them, Chen Liangjie makes pigment thinner and clear, making the brushwork vague and uncertain, it seems that he doesn’t recreate a painting with a photograph, but to reconstruct a photograph on canvas in the way of painting, and transfer the authenticity of photographs into the authenticity of paintings…. If there was some lyrical expression of life experience in Chen Liangjie’s early works, he has almost removed both the emotion elements of painting and the social meaning of photographs. Emotion has been restored into feelings, images have been restored into vision, while among those levels of restoration, painting has gained the nonconvertible authenticity.” (quoted from Bao Dong’s comments “The Authenticity of Painting ”)
Text courtesy A Thousand Plateaus Art Space.
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