The newly-created works of Mr. Feng Zhengjie are on the basic experiences concerning the mingling of the sexuality with sentimentality in the post- political society, the former being a part of the oomph girls in his paintings and the latter relating to the others. It is difficult to assert that all the viewers will be sentimental when standing in front of his “Coolness” paintings, but I am quite firm in a belief that such a feeling is the property of quite a minority.

　　The sexuality is a part of the body. Mr. Feng Zhengjie has not only painted the tactual sense of their skins, but also deformed their bodies into dwarf shapes with more sadist colors. Nevertheless, it appears that Mr. Feng Zhengjie has put more emphasis on the delicate expressions at the corners of their mouths in his truly vigorous strokes: the girls are mouth-closed, but tempting and soul-stirring. They are quite self-confident and proud of their charms. They are wearing bright green glasses. Their lips are green and even their naked bodies are in various “coolness” postures with colorful ties of contrast colors on.

　　It looks like a picture in a Hollywood film, a kind of sexuality at a globalized age. The figures painted by Mr. Feng Zhengjie seem to have somewhat racial and sexual characteristics, but it is very difficult to distinguish them in details. They have such features as slim bodies, prominent cheekbones and high philtrum of Asian females, but they look like a part of the future. They are bald, naked and have no sense of history. They have no distinguishable wraps, colors and background relating to the history.

　　They have no background except the large masses of vogue and sharp contrast colors of the capitalist pop art. If it is considered as their background, then, it is the only layer of background. In his painting, Mr. Feng Zhengjie has revealed a contrast relationship: the rich expressions of the bodies and the nihilism of the background. As a matter of fact, such a relationship has become a definition of the basic cultural experiences in a post-political society in the latter part of 1990s: the properties of bodies. During the period, the properties of bodies were regarded as a basic component of the contemporary culture in China of 1990s. He did not simply consider “the body ” as an equal definition of “the human flesh”, but regarded the body as a combination of “the human flesh” and the public consciousness on the flesh. During 1930s, the body was emphasized as a ritual culture of the middle class with the example of the culture of the foreign settlement in Shanghai as the representative of “the metropolitan culture”, but the hedonism was depreciated in a the moral language. After 1949, the body was regarded as a carrier of the rationalist tools of the ideology and the political symbolism in the nationalist cultures. For one hundred years of the modern history and cultures in China, whether Shanghai as a representative of the metropolitan culture, or Beijing as a representative of the nationalist one, the hedonism embodied in “the human flesh ” have been depreciated at all levels of legal forms of languages.

　　What Mr. Feng Zhengjie has painted are not the female images in a realist sense. They look more like a metaphorical visual language about the hedonism in late 1990s. The nihilist background, or, exactly speaking, “no background ” is the perfect background that Mr. Feng Zhengjie wanted to present in his works. In his paintings, he has revealed a fictitious dissolution of ideology and the ever-globalized characteristics of the body which are incarnated in their pursuit of the avant-garde styles of minimalism in their “coolness” gestures, expressions, dresses and make-ups. Different from so many a picture influenced by the globalized pop culture, Mr. Feng Zhengjie focused on their facial expressions which embody a fact that the contemporary consumer culture that they have accepted is not only an experience of materials, but also a aesthetic ideology. However, the stimulator of the current globalized ideology are neither the nationalist countries in colony, nor the democratic nations in modern capitalist world. It is the transnational corporations. As the aesthetic properties of the globalist pop culture, it looks like that the “cool” nature creates no history for the Asian females by the brushes of Mr. Feng Zhengjie. They have to accept a pure aesthetic vision concerning the present and the future that such pop industry as the Hollywood culture has created and the pop cultural background cultivated in the visual experiences of Mondrian or Andy Warhol-style. However, it seems that the “beauties ” of Mr. Feng Zhengjie are not completely the vogue products of the current capitalism. His “beauties” look like an eschatological sight in a Liaozhai world in which the spirit appeared at night, fled from the mortal life and enjoyed the spring leisurely. In fact, Mr. Feng Zhengjie has revealed another background in his works: the renaissance of human hedonism in the post-political society. The pleasures of the “human flesh” have not only become a real possibility in a secret space of the popular society and market in the latter part of 1990s, but also never been depreciated in the daily cultures of the current society. As a matter of fact, the political ideology is no more than a manifestation of the nationalism in China. A relatively self-governing mass society has begun to take shape after the introduction of the market system. This is the basic characteristic of the post-political society. The cultural results of the post-political society is that the nationalism has been confronted with double challenges: the globalized culture and Bohemian peripheral cultures. Mr. Feng Zhengjie has revealed a sort of self-transformation of the post-political society: a self-exile escape to the other side of globalism.

　　In the paintings of Mr. Feng Zhengjie, such an escape has become an errant scene which is pleasant and nihilist: the uninhibited bodies, the extreme freedom and pleasure, the relief of souls after forgetting the history and the utmost void. The globalism looks more like a pretty vision in the paintings of Mr. Feng Zhengjie. There are only masses, but no concrete cities. Those “beauties on the way” are enjoying the freedom of ideological disorientation.

　　Mr. Feng Zhengjie has applied the most fashionable way to his expressions of the deformed sexuality. The pet-like females with big heads and small bodies and the dissolved local features of their bodies have presented the viewers a deep sentiment. This is the very experience concerning the freedom and pleasures in the period of post-political society that Mr. Feng Zhengjie wanted to express in his paintings: pretty, but painful.