Introduction of Li Fang

Li Fang is from Chinese painting to oil painting, participated in a variety of exhibitions, made a variety of attempts, but for several years as one day to manage or his "stupid happiness" series, counting up to 10 years, I am afraid that there are not many contemporary paintings, several years to adhere to a narrow subject, I'm afraid, the most successful is Zhang Xiaogang. The most successful is Zhang Xiaogang. Although Li Fang is not now a big purple and red, but dedicated to the love of home is still there, I bought the first oil paintings, it is his, a collector in Shanghai almost every year to collect him a few, the age of the crowd, what else can you ask for? A lot of people with vision, think Li Fang's style is very unique, but since the screen in the mainstream outside, this point so that the industry a little puzzled, in fact, as long as you slightly throw away a little bit of your brain to form those boxes, a little bit away from the traditional "modeling", you will be able to understand the abstract paintings can be understood, and what style can not be understood! I can understand abstract painting, what style can't be understood?

Chinese Name: Li Fang

Foreign Name: lifang

Nationality: Chinese

Ethnicity: Han

Birthplace: Deyang, Sichuan

Occupation: Contemporary oil master

Graduated from: Sichuan Academy of Fine Arts

Representative Works: Happiness of the Bean, Flying Series, Chinese Dream Series

Major Exhibitions

2007 Muddy Ride-Twelve Artists Group Exhibition New York Art Space-Beijing

2007 HuanTie International Art Exhibition Beijing HuanTie International Art City

2007 Reverse Movement Exhibition HuanTie LaoJiu Open Studio

2007 Reboot-SuoJiacun International Art Camp Exhibition Beijing Suojiacun

2007 Idea-Image-Li Fang Solo Exhibition Hangzhou Impression Gallery

2007 Long March Project-Yan'an Retrospective Beijing Long March Space

2006 Long March Project-Yan'an Yan'an University

2005 New Idea The First Exhibition of Luyeyuan Stone Carving Art Museum

2004 Inside Out-Chinese Contemporary Art Exhibition Lyon Contemporary Art Museum

2003 China-Japan Performance Art Exchange Program Exhibition Chengdu Fine Arts Institute

2003 One Day Journey-Walking Visual Exhibition Along the Three Gorges of the Yangtze River

2002 Searching - Experimental Art Exhibition, Chengdu University

2002 Long March - A Walking Visual Exhibition, Jinggang Mountain

2002 Existence/Feathering - Crossing Art Exhibition, He Duoling's Open Studio

2001 Parabola/Alternative Happiness -Antelope Gallery

2001 Contemporary Artists' Fine Art Exhibition Sichuan Museum

2000 Night of Life-Contemporary Art Series Exhibition Trinity Bookstore

1999 Moments-Chinese Art at the End of the Twentieth Century University of Chicago Art Museum

1999 Nine Art Exhibitions/Sichuan Art Exhibition Sichuan Art Museum

1998 World Chinese Painting and Calligraphy Exhibition National Art Museum of China, Beijing

1997 The Second Exhibition of Chinese Still Life Oil Painting National Art Museum of China, Beijing

1997 European/Contemporary Chinese Art Exhibition Reichstag, Amsterdam

1992 Asian Painting Art Beijing/Singapore

1991 Sichuan Brushstroke Figure Painting Exhibition, Sichuan Provincial Art Museum

Evaluation of Works

Simply put, artists, like writers, are interpreting some kind of happy or unhappy states, events and feelings in life, and then giving them a shape or applying colors to them, and then the rest is the viewer's interpretation, which is either y buried and difficult to read or understood by the viewer. Some are buried deep and difficult to read, some are difficult to read, some are difficult to understand, such as Paul Ortbridge's famous photograph, Naked Woman in Meat Packer's Gloves, which, at a superficial level, may be a contrast between iron nails and skin, but that may be a classic expression of self-mutilating pleasure, a reading that requires some comprehension, but Bill Owens's photograph, We're Really Happy. Our kids are healthy. We eat well and we have a cozy home," then anyone can read it, as long as they're not mentally retarded. A very interesting direct interpretation of happiness in modern painting is Hamilton's "What Makes Today's Family So Different", which shows everything: a fit man, a woman with breasts, a tape recorder, a babysitter, a vacuum cleaner, a sofa, a TV set, the same globalized life as we are used to nowadays, but is it happy? --It's kind of ironic.

In terms of my favorite artists, I prefer the much more subtle Edward Hopper, whose windows and light are connected by solitude, and whose "happiness" becomes a kind of light, a kind of atmosphere, and in most cases a kind of approaching danger. Happiness" is transformed into a kind of light, an atmosphere, in most cases a dangerous "happiness" that is approaching, a "happiness" that is publicized beforehand, or a "happy murder", where the atmosphere of a crime solving novel is strangely combined with the environment of a small town. His masterpiece "People in the Sun" expresses the comprehension of "happiness" to the extreme. The five people in the picture give their comfortable postures to the sunshine, the scenery, and even the four legs of the cross-legged recliner, and the invisible emotion of emptiness and loneliness becomes visible, and even a kind of decadence similar to that of "Rome", and the sad happiness floats along with the golden field, so it is no wonder that many American intellectuals particularly like him. It is no wonder that many American intellectuals are particularly fond of him. A few years ago, because of Hopper, I had a fascination with a Chinese-American elite. Li Fang's "naive" to explain Hopper is also feasible, from the intrinsic concern of the theme, emphasizing the local cultural point of view, they have a similar field, just the same method of expression, the image system is not the same.

Li Fang is from Chinese painting to oil painting, participated in a variety of exhibitions, made a variety of attempts, but for several years as one day miserable management or his "stupid happiness" this series, counting for fear that has been five years long, the contemporary painting world, several years to adhere to a narrow subject, I am afraid that there are not many, the most successful is Zhang Xiaogang. Although Li Fang did not have that kind of big purple and red, but dedicated to the love of home is still there, I bought the first oil painting, is his, a collector in Shanghai almost every year to collect him a few, the age of the crowd, what else can you ask for? A lot of people with vision, think Li Fang's style is very unique, but since the screen in the mainstream outside, this point so that the industry a little puzzled, in fact, as long as you slightly throw away a little bit of your brain to form those boxes, a little bit away from the traditional "modeling", you will be able to understand the abstract paintings can be understood, and what style can not be understood! I don't know what I'm talking about, but I don't know what I'm talking about!

The creation of "The Happiness of the Idiot" started at the beginning of the century. At the end of the last century, China experienced a change of variables, chaos and pessimism, and all of a sudden, it jumped from the spiritual exuberance of the ideology into the thirst for material things that had never existed before, which, as a cultural symptom, is obviously a kind of anomalous manifestation of the starvation, and the starvation is not only a physical disease but also a mental disease. Hunger is both a physical disease and a mental disease. Like the social characteristic of "pain", it has always been a characteristic of Chinese culture that black cats and white cats go to two extremes. Material life can be easily shaped, just as happiness as a national consciousness is readily available; a commoner has no say in officialdom, but he has a say in numbers, and the happiness so attained has never been so widely civilianized. Happiness is more often expressed as a number, like the folk's favorite expression in daily life, "several digits", people in the securities company are always saying "we are playing the number game", just like the word "ten thousand" was very popular in the 1980s. The word "Wan" was very attractive in the 80's. I remember that I accompanied a British reporter to interview a man who had made a fortune in mosquito nets in this city, and his name was "Yang Million", which appeared in Time Magazine. When we met him, he was overflowing with happiness, very much like one of the flying characters in "Happiness of Being a Nerd". He would not have been in such a situation if ideology had prevailed, because in the past, he belonged to the category of "people with problems", but things have changed, and I am afraid that he is no longer in the limelight in this century, because the word "million" is not the same as the word "million". The word "Wan" has become a game for the disadvantaged again, the scale of happiness quantification has changed, and so have the physical senses - do Chinese people have to be happy and perverse enough in order to truly understand happiness? Li Fang's work must be trying to help people, even at the expense of "terrorizing" them, to grasp the scale of the body, the scale of happiness, or you will be twisted and become a disaster.

Possibly because of his Chinese painting, Li made a subtraction when he turned to oil painting, abandoning the common problem of many turners, that is, overly rich colors, overly complex curves, and instead adopting a minimalist approach. The "Happiness of the Idiot" is basically presented with two big color blocks of red and blue, which can be traced back to Expressionism in Western paintings, but red has a special symbolic significance in China, which is not only revolutionary, but also more of a kind of warmth and brightness, and also covers a high level of instincts and perceptions of the body, which is the level on which the painter chooses the color tones, and blue, which is the color of the body. Blue is undoubtedly the representative color of melancholy, and the overlapping of the two undoubtedly makes the painting gain considerable tension in the theme of "The Happiness of the Idiot". The only change from the beginning to the end of "The Happiness of the Idiot" is that in the early stage, the background is rendered in blue and the body is painted in red, but later, on the contrary, the body is painted in blue, which probably has something to do with the fact that the artist is becoming more and more aware of the pessimism of the subject of the body. This adjustment is interesting in itself, as the red color, representing the sensuality of the flesh, is shifted to a background with sociological implications, while the melancholy atmosphere is shifted to the space of the flesh. There is also a change in that in what used to be a purely flat background, the artist gives the horizon and the clouds, and the yellow in turn partially replaces the red, creating a new allusive relationship. For yellow is in every way a symbol of the poor land, of the dragon. The artist is not a preacher of sociology, but the happiness and satisfaction of the flesh, in exchange for the sacrifice of the natural ecology of the land, this kind of killing the chicken and taking the eggs, the problem of globalization of putting the cart before the horse, can not help but become a topic of concern for the artist ------ Zhongming (Chinese contemporary poet and essayist)

Some of the paintings to appreciate