…Feng Zhengjie’s works is one of the most exemplary representatives of gaudy art. He started his gaudy art since the exhibition of “Narration of Skins” in 1994. However, gaudy artists’ works intended to present cankers and hurts and the brightness of colors did not reflect the style of gaudy art. With the trend of commercialization, Feng Zhengjie Believes that the national policies on economy have diluted the political concerns of the society, and political characters has turned to be economy or material oriented Therefore, the traces of ideological interventions and obvious political intentions have lost their actual roots. Consciously confrontations with a certain target diminished because the target itself no longer exists. The fine art has to face the reality. “Romantic Trip” was considered the real beginning of the style of gaudy art. The artist took the wedding photography as the theme and mimicked the flamboyant colors and affected poses and eventually amused the holy wedding ceremonies in a way of exaggeration and irony. In fact, the artist’s irony to the social phenomena also creates a kind of aesthetics. In the diverse styles of gaudy art, Feng’s works possesses unique aesthetic value. When a certain language expands with the opening up of the ideology, meanwhile it gives birth to a new aesthetic style. The artificial descriptions of the amusing situations, motions and images arouse the audiences’ review to their life experiences. The gaudy art defined by Feng Zhengjie is very interesting, because he did not simply combined the superficial meanings of criticism or cynicism with his own conceptions:

　　Gaudy art is one kind of art strategy and language style. Gaudy is only the superficial element rather than the essence of the gaudy art whose essence is irony with the means of imitation. Irony with the feather of penetration and inspiration was strengthened by the superficial presentation of the gaudy art Therefore gaudy art should not be regarded as a unilateral emotional criticism to the moral objects, but as an necessary manner of art introspection in the situation of contemporary society and culture.

　　—Extracted from “90’s Art China1990-1999” by Lv Peng