Since the 1990s, in what is perhaps an inevitable evolution, Chinese artists have been liberating themselves from the fundamentals of traditionalist art. The paths that have been taken are diverse and numerous, with artists moving from a ubiquitious socialist realism into a wide exploration of contemporary life and social values. One strong theme to emerge out of this web of ideas has been that of the icon, Feng Zhenjie being one of the leading propagators of this theme.
In the early 90s, Feng Zhengjie underwent a period of deep reflection, contemplating many problematic issues in contemporary society, considering particularly, the problem of AIDS and the effects of mass consumerism. During this time, he produced his series, the ‘Recounting of Skin,’ which focused on the skin’s physical condition as a manifestation of social problems. In 1996 however, he began to abandon this fixation with the skin and its festering properties. He began to realise that the answers he sought, in short, the truth, could not be found in this way.
During this period, ‘Political Pop’ was at the fore, with artists such as Wang Guanyi, Zhang Xiaogang and Fang Lijun gaining wide recognition. These artists, particularly Wang Guangyi threw criticism at the Cultural Revolution by using the Revolution’s very own iconic language. His ‘Great Criticism’ series gained wide recognition and Zhang Xiaogang, whose static translucent figures had originally been mocked as merely ‘calendar style’ pictures, also became increasingly respected. Fang Lijun, another pioneer, became famous for his vivid paintings that focused on the baldhead, unadorned and vulnerable. On the surface, these iconic figures represent the heroic, the sensuous and the vibrant. The pleasing aesthetics of this façade however, belie the depth of commentary inherent in these works. The iconic figures that these artists present highlight our awareness of the gap between idealism and reality, emphasizing past failures to deliver promises and an increasing inner turmoil that festers in contemporary society.
During this time, Feng Zhengjie became increasingly interested in pop culture, through observing contemporary society he could see the shallow nature of popular entertainments and consumer habits. He saw the importance of image in today’s society, and the great emphasis that people place on their dress and appearance, as if by dressing splendidly the world itself would become more resplendent in response. Feng Zhenjie took this aspect of contemporary culture and began to dress his figures in brightly coloured outfits, colours which, in the west may already be considered ‘out of fashion’. The poses of his figures from this time are awkward and unnatural, usually imitating classical poses, and therefore lacking individuality. He also adds to the composition items such as balloons, flowers and birds. These ‘pretty’ items are intended to represent ‘love’, ‘romance’ and ‘beauty’ in their use today, but they are in fact meaningless. That they are included on Feng’s canvas highlights the fact that this is all a falsity. All the additional extras, the clothes and decoration, add nothing meaningful to the painting, just as they add nothing meaningful to real life.
In his work from this period we can see that Feng has stopped looking for the answers that he was previously seeking, instead of trying to get below the surface of contemporary culture he paints the falsity, the deceptive image that he sees and in this manner he becomes increasingly free, unfettered by his quest for the ‘truth’. It is from this point that he begins to focus solely on creating these ‘deceptive images’ and paints the falsity that he sees around him.
Feng’s previous quest for the ‘truth’ had proved to be so unsuccessful because the fundamental answer, the truth, does not exist. The ‘ultimate truth’ itself is a fabrication and is therefore impossible to discover. Consequentially, when trying to depict elements of ‘truth’ in humanity, like ‘happiness’, ‘love’ or ‘beauty’, the end result is a deception, we are tricked into thinking this is ‘real’ when it is in fact undepictable and therefore not true in representation. In this way, the deceptive representations have become the truth, or what is considered to be the truth today.
There is a long history of deceptive imagery, demonstrating that materialism is not a modern phenomenon. Chinese calendars and old advertisements show the same kind of false, idealised images that we are presented with in modern advertising. These old advertisements and calendars are vividly coloured, in fact we are uncomfortably bombarded with colour and excessive ornate decoration. The idealised figures in these pictures are presented as happy and healthy, living lives filled with love and beauty. These garish images set the standards by which we measure ‘happiness’, ‘success’ and ‘beauty ’today. People have been taught that this is desirable, and what they should strive to achieve.
Feng takes these old forms of advertising and decorative calendars as influence for his series the ‘Butterfly Lovers’, as well as using contemporary pop culture as an inspiration. In his use of pop culture Feng’s art can be considered ‘kitsch’, as it is often the elements of consumer entertainment despised by the elite that he includes in his work. In the frenetic, brightly coloured paintings of the ‘Butterfly Lovers’ series, the artist takes as his focus, women and their consumer lifestyles. A developing economy and consequential rise in expendable income has led to mass consumerism and, as women focus more upon the ‘image’, appearances become everything. The lengths that women go to decorate themselves and appear more beautiful are of particular interest to Feng. He presents us with excessively made-up women, often contrasting a fully clothed figure with a nude. This contrast highlights the futility of the great efforts that women go to in order to be ‘beautiful’, as the women are more attractive in the nude state and are made to look ridiculous in their excessive dress. The decorated women and the multitude of decorative symbols: flowers, balloons, birds etc., are a comment on the falsity and shallow nature of the consumerist attitude.
After this series, taking further his exploration of the ‘deceptive image’ Feng decided to focus on particular details, instead of painting a mass of accumulated items. He abandoned unnecessary decoration and instead began to concentrate on iconic portraits of singular heads, expressing similar themes as in the ‘Butterfly Lovers’ but paying sole attention to the individual. In his ‘China’ series, the artist’s opulent, luxurious paintings entice the viewer, drawing him into the pulsating colours and drowning him in the sensuousity of the female image. The luscious lips (a symbol of sex), the flawless complexions and the hair, sometimes flowing, sometimes styled, all serve to create this sumptuous image, a dangerous woman whose sole task is to seduce. Whereas before Feng would have used various decorative devices to symbolise love and sex, here there is no need, in these paintings, the looming faces say it all. To view one of Feng Zhenjie’s sensuous images is to be deceived, however, for it is only on being sucked into the image that one realizes that this is all there is. Beyond the surface is nothing. The unseeing eyes that one may not at first have noticed, are helplessly unable to focus upon anything and serve as a window into the vacuum that lies beneath.
In the ‘China’ series, Feng succeeds in creating the true ‘deceptive image’. The viewer’s first impression is one of beauty and sensuousity but beneath this lies a darker theme, the eyes of the figure being the only clue to the void that lies within. Feng is not creating any kind of reality, this is all false, and yet in the viewer’s awed response to the paintings-to its iconic beauty, a form of reality is assumed.
In conclusion, we need to go back to the issue of ‘truth’ seeking that had so concerned Feng prior to his ‘deceptive phase’. We need to ask whether it is actually necessary to search for these answers-to search for the truth? In response, the artist may reply: is this beautiful deception not enough? This deception is the only answer, therefore we must assume that all we see cannot be taken at face value and that we are surrounded every day by mere images and falsity.
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