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Artist sees sunflowers as great symbol for China
By Wang Jie |
September 30, 2010, Thursday
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XU Jiang's latest Hangzhou exhibition "Ode to a Sunflower Garden" revisits a theme the artist is seemingly obsessed with, writes Wang Jie.
Veteran artist Xu Jiang is obsessed with sunflowers. He believes the golden flowers that are cultivated for their edible seeds are the perfect symbol for China.
According to Xu, a mature sunflower leaning in the direction of the sun is similar to the Chinese nation that has suffered too much in past centuries.
"Look at these sunflowers, aren't you moved by them?" he asks, looking at one of his paintings. "Although wars and revolutions have tortured our nation, China still strives to stand up."
While Vincent Van Gogh depicts the dazzling beauty of sunflowers, Xu prefers using withered sunflowers.
"Van Gogh's sunflowers eulogize the harvest and the energy of life, but mine lament the pain and burden, especially carried by the Chinese nation," Xu says. "Van Gogh's sunflowers are dazzling and passionate while mine are withered and sentimental ones."
Following his solo-exhibition "Redemption of a Sunflower Garden" that swept the art community, his latest "Ode to a Sunflower Garden" will begin on October 15 at the newly built Zhejiang Art Museum in Hangzhou.
"This exhibition is bigger in scale," he says.
According to Xu, the huge space inside the two-story museum will be reserved for his exhibits.
"Just imagine a scene: about 1,000 withered sunflowers made of bronze standing in rolls on the first floor of the exhibition hall," Xu says.
While the exhibit features mostly paintings, there will also be sculptures and installation - all focused on the sunflower theme.
Xu cautions on the message of his artwork.
"Don't misread my intention," he says. "On the surface, they might not appear so lively, but they are filled with vitality and an undying spirit. Even the withering sunflowers in my works follow the direction of sunlight."
Born in 1955 in Fujian Province, Xu is a graduate of the China Academy of Art in Hangzhou.
Like many from his generation, his life has changed due to events beyond his control.
He belongs to the generation that had been assigned labor training in the countryside as late Chairman Mao Zedong demanded young people to "purify their souls" during the "cultural revolution" (1967-1977).
Xu also studied in the West shortly after China's "open-door policy," as he wanted to "see the exciting outside world."
Xu went to Germany in 1988 and savored the solitude like many Chinese students in the West at that time.
"For me, such an experience was really unique and cannot be repeated," he says, smiling.
"Maybe this explains why our generation is stamped with more social responsibilities and self-conflict."
He uses his art to show concern for the country.
"I feel so fortunate to have found the perfect subject - withering sunflowers - to carve my inner thoughts," he says. "At the moment, there seems no better symbol than a sunflower to spark my inspiration and passion."
Xu also believes that most critics misunderstand his paintings.
"I believe only those who share similar experiences as me can go deeper into my works," he says. "Although today we are not young, our passion, like these sunflowers shifting toward the sunlight, will never die."
Xu is also head of the academic committee of Shanghai Biennale and president of the China Academy of Art.
How does he balance these positions and still find time to create?
"This is no great mystery," he says. "I simply sleep less than most people.
"Based on my work experience in the countryside and as a penniless student overseas, I have learned to be strong."
When asked whether he will continue exploring the subject of sunflowers in the future, Xu says: "I am still addicted to sunflowers at the moment. Only when I pour everything inside me into them will I change to another subject."
Veteran artist Xu Jiang is obsessed with sunflowers. He believes the golden flowers that are cultivated for their edible seeds are the perfect symbol for China.
According to Xu, a mature sunflower leaning in the direction of the sun is similar to the Chinese nation that has suffered too much in past centuries.
"Look at these sunflowers, aren't you moved by them?" he asks, looking at one of his paintings. "Although wars and revolutions have tortured our nation, China still strives to stand up."
While Vincent Van Gogh depicts the dazzling beauty of sunflowers, Xu prefers using withered sunflowers.
"Van Gogh's sunflowers eulogize the harvest and the energy of life, but mine lament the pain and burden, especially carried by the Chinese nation," Xu says. "Van Gogh's sunflowers are dazzling and passionate while mine are withered and sentimental ones."
Following his solo-exhibition "Redemption of a Sunflower Garden" that swept the art community, his latest "Ode to a Sunflower Garden" will begin on October 15 at the newly built Zhejiang Art Museum in Hangzhou.
"This exhibition is bigger in scale," he says.
According to Xu, the huge space inside the two-story museum will be reserved for his exhibits.
"Just imagine a scene: about 1,000 withered sunflowers made of bronze standing in rolls on the first floor of the exhibition hall," Xu says.
While the exhibit features mostly paintings, there will also be sculptures and installation - all focused on the sunflower theme.
Xu cautions on the message of his artwork.
"Don't misread my intention," he says. "On the surface, they might not appear so lively, but they are filled with vitality and an undying spirit. Even the withering sunflowers in my works follow the direction of sunlight."
Born in 1955 in Fujian Province, Xu is a graduate of the China Academy of Art in Hangzhou.
Like many from his generation, his life has changed due to events beyond his control.
He belongs to the generation that had been assigned labor training in the countryside as late Chairman Mao Zedong demanded young people to "purify their souls" during the "cultural revolution" (1967-1977).
Xu also studied in the West shortly after China's "open-door policy," as he wanted to "see the exciting outside world."
Xu went to Germany in 1988 and savored the solitude like many Chinese students in the West at that time.
"For me, such an experience was really unique and cannot be repeated," he says, smiling.
"Maybe this explains why our generation is stamped with more social responsibilities and self-conflict."
He uses his art to show concern for the country.
"I feel so fortunate to have found the perfect subject - withering sunflowers - to carve my inner thoughts," he says. "At the moment, there seems no better symbol than a sunflower to spark my inspiration and passion."
Xu also believes that most critics misunderstand his paintings.
"I believe only those who share similar experiences as me can go deeper into my works," he says. "Although today we are not young, our passion, like these sunflowers shifting toward the sunlight, will never die."
Xu is also head of the academic committee of Shanghai Biennale and president of the China Academy of Art.
How does he balance these positions and still find time to create?
"This is no great mystery," he says. "I simply sleep less than most people.
"Based on my work experience in the countryside and as a penniless student overseas, I have learned to be strong."
When asked whether he will continue exploring the subject of sunflowers in the future, Xu says: "I am still addicted to sunflowers at the moment. Only when I pour everything inside me into them will I change to another subject."
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