Contemporary Chinese Art- another kind of view
DSL Collection
We are from the century
More information on the works
More information on the works
"Like that car turns over, smoke, fire, beach, barren grassplot and so on, these signs appear in my work, and most of them are disposal of my blues. Things of winter are with no vital force. The scene I like the most is the chaos after the orgiastic party, the noise of it is still lingering, lonely scene. The beach has the trace of human, and the weed shoal is walled. These things are also relevant to human beings, they are scenery but still not landscape painting.
The sea never appears peace to me, what?s more is deadness and dreadfulness. Sea usually makes people feel released, but not for me. This scenery?s formal beauty can easily make me fall into the grief. I?m afraid of loneliness but don?t like jollification either. In my works, I put the people in opened scenery, reduced the size of him, the character?s image become out of focus. Put in a despair wild space, people and his thought both are small, the sky pressing and the ground supports, whatever you do is small. The previous flighty thoughts, in which I thought I could do anything you like if I have been trained in a good feat, has changed accidentally now. Life influences one in a slow and unconscious way that scares me a lot."
"The status of the two people sitting on sofa is easy to be identified, an intellectual?s anxiety and a model?s vacuity. It is the relation between people and people, or between you and yourself. The two states are hard to be consonant, and tied together by destiny. The society of China is complex. When I was young in Dan Dong, the folkway was unsophisticated and simple. Now it is much more complex to my comprehension. That time when I was in 789 made me had a new understanding on the professional artist?s status. In my opinion, Chinese contemporary art circumstance isn?t very optimistic and its expansion isn?t relevant to my desire for the culture! I have been infantile thinking that a pure artist should have the courage to go into a farther and lonelier extremity, in order to prove some things or the worth of thinking independently."
--JIA AI LI
from FU Xiaodong& Sun Ning: An interview with Jia Aili
The sea never appears peace to me, what?s more is deadness and dreadfulness. Sea usually makes people feel released, but not for me. This scenery?s formal beauty can easily make me fall into the grief. I?m afraid of loneliness but don?t like jollification either. In my works, I put the people in opened scenery, reduced the size of him, the character?s image become out of focus. Put in a despair wild space, people and his thought both are small, the sky pressing and the ground supports, whatever you do is small. The previous flighty thoughts, in which I thought I could do anything you like if I have been trained in a good feat, has changed accidentally now. Life influences one in a slow and unconscious way that scares me a lot."
"The status of the two people sitting on sofa is easy to be identified, an intellectual?s anxiety and a model?s vacuity. It is the relation between people and people, or between you and yourself. The two states are hard to be consonant, and tied together by destiny. The society of China is complex. When I was young in Dan Dong, the folkway was unsophisticated and simple. Now it is much more complex to my comprehension. That time when I was in 789 made me had a new understanding on the professional artist?s status. In my opinion, Chinese contemporary art circumstance isn?t very optimistic and its expansion isn?t relevant to my desire for the culture! I have been infantile thinking that a pure artist should have the courage to go into a farther and lonelier extremity, in order to prove some things or the worth of thinking independently."
--JIA AI LI
from FU Xiaodong& Sun Ning: An interview with Jia Aili
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Jia Aili
oil on canvas, 6 x 15 meters
oil on canvas, 6 x 15 meters