Chao Ge sensitive person

Chao Ge sensitive person

 

　

1986

In, Chao Ge returned to his alma mater, who had been studying for four years. This time, he entered the Central Academy of Fine Arts as a teacher.

 

20

Century
90

The age is coming without knowing it. Although the high wall of the School of Fine Arts blocks the noisy of the city well, the fierce social revolution has penetrated the campus through the gaps in the corner. This agitation affects Chao Ge.

 

Professor at the Central School of Fine Arts

Chao Ge: In this era, it has a sound that makes you vibrate. You are passive, and you are shaken by the times. I think a good artist is like this. The relationship between him and the Times is like this. It doesn't mean that I have shown the times, but it is a kind of expressive desire for you, my work actually has this feature.

 

Chao Ge's work is "sensitive person".

 

Chao Ge sensitive person

This is the opposite of "atmosphere. On the screen, there has been no lyrical or peaceful past, but a strong conflict. The hero has a messy hair, a messy beard, anxious eyes, and a tilted forward body. The background is a black high wall, and a bunch of bright lights from nowhere have brightened his face.

 

Professor at the Central School of Fine Arts

Chao Ge: they strongly feel that there are new and real things in this work. When some editors saw me, he said: "Chao Ge, I have this kind of emotion. I have this kind of emotion.

 

Professor at the Central School of Fine Arts

Chao Ge: "Sensitive Man" has a strong forced figure. I arranged an implicit, indifferent back on this painting, and a dark wall. The back is quite interesting to compare with the anxious sky and the turbulent hair. Dusk means anxiety for me, which has been deeply rooted in my heart. This is an unexpected release.

 

This
I drew a picture for four or a half days. After the painting, I put it in the corner and buckled it. I did not dare to touch it, because I knew the exception contained in it, which made me very sensitive and uneasy. My work is not for capture.
Capture a character, but explore the spirit behind it. This is the most exciting thing I have done in art preparation during this period. I have achieved this purpose, and I have made painting this form, with people,
The most complex and sensitive mental activities in social and spiritual activities are associated and unified. This was an important thing I did at that time.

 

 

 

 

From the external characteristics of the times or the quality of the work itself, Chao Ge
1990

The "sensitive person" created in the year will be one of the most important works in Contemporary Chinese painting.

 

Painting changes from describing the visible behavior world to observing the invisible inner life. Portraits in painting change from individual characteristics of the characters to revealing the common state of the study mystery.

 

It is not the image code of general philosophical meditation, but the Psychological Compensation of the painter as a sensitive person. It is not a temporary, trivial feeling, but a cohesive, highly spiritual psychological structure.

 

This abstract means that the transmission mode is embodied by the characteristics of the Korean art language.

First
First, it is the approximate and Skewed Space of his work. The top-down and top-down figures in the painting are not positive, but tend to develop in depth. This kind of high point of view gives you a sense of inclination, as if you were looking at yourself in a mirror.
Approaching image in the mirror. There was almost no distance between the painter and the audience, and the space for the artist's promotion was in front of us. He looked at it with an emergency and swept through everything, the nervous eyes make us feel uneasy.

In fact, there are similar characteristics in the works of other figures in the DPRK, that is, they use a close view and a slightly overlooked viewpoint to break the balance and arrange the characters in a skewed and compact space. This compact and tilting technique in composition and shape is not intended to produce a peculiar visual effect, nor to formally consider it, but to ease his psychological instability, it is the visual display of his subconscious.

 

Its
Chao Ge is also very sensitive to the "line" of the object, especially focusing on the outline of the image. The starting point of his observation is almost the outline of the object. He uses the outline to clearly separate the characters from the background.
The alienation between people and the outside world. At the same time, the outlines of the characters are not big ups and downs, but slightly changed, reflecting the vitality of the contact between the body of life and the external world.

In addition to the contour lines, Chao Ge can also "see" many "lines" from the object form and confirm them. At the turning point of the form, the junction of light and shade, and the change of clothing and accessories ...... They all use a "line" to reveal the existence of the body rather than a "surface" to enclose the body's shell.

Only those with a specific disposition and point of view have a special liking for the line, because the line is more
(

Brightness
)

More practical, calmer, and abstract-this visual psychology principle has been illustrated in GOV.

For Chao Ge, the "lines" are life-meaningful. They are like a thin trigger that affects his sensitive and fragile nerves.

 

Third, it can be referred to as "tight strokes ". Like all realistic styles, Chao Ge also pursues enrichment and fullness in his styling, but out of his requirements for physical texture and sense of touch, he uses compact and continuous strokes to cause the relief of the shape between the plane and the volume.

The tight strokes are also subtle color changes. He seems to have no deliberate pursuit of color, but only uses the sub-processing method to reduce the color purity, uses the gray color for local comparison, thus forming an uncertain color.

The continuous comparison between the tight strokes and warm colors makes the color disposition and texture density of the screen a tight atmosphere, and improves the spiritual temperament of the painted characters.

 

Knowledge-based portraits are the psychological portrayal of Chao Ge. From this, we can see that painters are on the verge of connecting people with the outside world, and the edge of spiritual and material connections between people. His artistic expression begins with this edge and ends with this edge.

However, by analyzing all the creations of Chao Ge and his characteristics, we can find that it is not enough to regard such works as the subject of his art, sensitive users' psychology is self-closed, self-seeking, and sometimes even depressed. In the room where portraits are stranded, the face of portraits is like self-observation in the face of mirrors. They all slow down the psychological mood of Sergo.

However
At the same time, he is also thinking about a wider space, hoping that the soul will bath his imagination and comfort the soul's natural embrace. This is the theme that makes sense to the portrait of the sensitive person in the art of Chao Ge-the strong winds he painted
View. A group of landscape and symbolic figures, including "atmosphere" and "brilliant City", have boundless space and dynamic stretching. The wide nature of the landscape exceeds the realistic horizon, the stretching of characters makes the scenery empty.
Gas and breath are surging. These types of works are at least incoherent in the art of Chao Ge, but they do not stop or appear between portraits, this proves that painters use them to regulate their own psychology.
Nature and therapeutic significance.

These two types of works have completely different spaces and different situations, which constitute a complementary structure of the art of Chao Ge and a mixture of dreams and reality, this is not common for painters of the same generation as Ge. Milan Kundera once said when talking about the novels after proster: "together with proster, a huge beauty begins to slowly leave, and we can no longer reach it. This is a permanent and irreparable departure."

Chao Ge's restoration of "great beauty" in the strong wind is not a philosophical meditation, but a psychological confession eager to surpass the existence. He is at the edge of normal spirit and realistic language, which makes his paintings meaningful.