EXHIBITED:

ILLUSTRATED:

"As a Chinese artist, the ideological education of socialism not only is relected in our life, but also has profound influence on our artistic creation. As a new generation that has grown up under socialist ideological education, the artistic method of socialist realism is both the beginning of our self- expression and the starting point of our artistic prospects. This is an undeniable fact. But what is more important are the tremendous changes we underwent during the reform and opening-up and in our political ideas in the past 20 years. Living at the transitional stage of China, we're experiencing tremendous social reforms that are beyond the understanding of others; this is the environment of our life and the object of our expression. If there is any energy and vigor in our art, then this is the real source of it." (Quoted from Painting Collection of Zhou Chunya, Zeng Fanzhi, and Ji Dachun.)

Temporary, luid, and unixed visual status, this is the most important and most special element of the painting art of Zeng Fanzhi. His smooth and handsome brush, sometimes concentrating, sometimes dispersing, sometimes extensive, and sometimes intensive, creates endlessly the new image portfolios under the remarkable collaboration of light and shadow and tells new stories. Whether a landscape, a human figure, or a face, they may all be distorted by the painter slightly so that his paintings have an extended grandeur, as if the painting is unfolding and narrating a majestic epic poem.

From 1994, when he irst came to Beijing, to 2001, Zeng Fanzhi has always been engaged in the creation of the "Mask Series". Using brief and clear brushes, he depicts the hypocrisy of man and exaggerates characters' facial expressions through hard border lines. This series has brought for him both success and irritation: he's often referred to simply as a "mask painter". "Such labeling makes me uncomfortable. I hope that when the audience looks at something that's created out of the depth of the artist's heart, he'll see it more than a label or a name; neither do I want others to think that I've already set up my own style. So I must break through." He makes up his mind and decides to seek the breakthrough.

"Amidst the historical reforms and artistic expressions, what we choose is the reality that's confronting us and the feeling that reality has brought to us. This is the essence of our education and the weapon through which we can surpass the education that we've received. It is the special social background and ideology of China that has enriched the creation of artists. More and more artists are turning their eye to the society and to politics. Other artists, however, are more concerned about the life experiences of an ordinary person. Perhaps the former better indicates the existence of China or Modern Art of China; but for me, I'm more of the latter, for I am more concerned about the life and experience of man. The natural exposure of the thoughts and emotions of modern people may be more important than the intentional Chinese icons and Chinese methods." (Quoted from Painting Collection of Zhou Chunya, Zeng Fanzhi, and Ji Dachun.)

From the late 1990s, new paintings show up in different appearances. Compared with previous paintings, their greatest difference lies in that the new paintings are the products under the influence of post-modernism; in a wider conceptual ield, painters regain the freedom of painting and are no longer anxious about the material itself, for the legitimacy of the material itself can be supported by a post- modernistic stand; as a result, the painters have retrieved their power of liveliness, influence, fun, painting, and literary nature, re-constructing the dignity of painting. And in such a reconstruction, the stories of feelings by Zeng Fanzhi play a transitional role.

Zeng Fanzhi gets his inspiration for "Sky Series" from his childhood. According to the painter, he would always have a remarkable fantasy when he looked up into the sky in his childhood and such fantasy has accompanied him through the years; even by now, he could still hear its voice and smell its lavor. The broadness of the sky always intrigues ininite imagination of human beings; and when combined with time, it becomes a meaningful object image. Created in 2005, "Red Cloud" has the main object of a young man, smoking a cigarette, his head lowered and his hands in his pockets. Putting the character into the scene, the painter seems to believe with instinct that man is part of nature. From his facial expression can be seen his confusion and puzzlement; the three-dimensional texture of the character invokes imagination and enables us to detect and explore the tension hidden in the heart of the painter. In "Red Cloud", the rhythm of the lines is merged into the abstraction; the painter uses his painting brush as adeptly as he does chopsticks, endowing the lines with a smooth luidity. The loating and dancing calligraphic "symbol" is a version of the traditional cursive script, focusing on the abstract with practical details as the bases.

Rational and non-rational intertwine in the painting, like the wrestling between a synthetic image and an abstract image. Not confined by any rules or predefined logic, Zeng Fanzhi keeps the integrity of his creative process and the result avoids the repetitiveness of painting, and constructs a new language through the wonderful effect of the destined and the accidental, i.e., between intentional and unconscious, artificial and natural. This is a new artistic method theory. His paintings resort to the abstractness of calligraphy and the meaningfulness of Zen. Such a painting style is clear, pure, and simple, precisely reflecting his abstract artistic language; and the scenery with freedom, vigor, and musical fluidity combinees features smooth and free brushing and is an emotional expression of reality.