Exhibition of contemporary paintings delves into fluid identities of Lucifer
Print Edition
The Space and Gallery Association Shanghai has unveiled the “Everyone is Lucifer” exhibition, an exploration of duality and transformation through the works of five Chinese contemporary artists — Liu Chao, Lu Pingyuan, Wang Shuo, Zhao Yang and Zheng Haozhong.
The exhibition delves into the fluid identities of Lucifer, not just as the fallen angel of lore but as a metaphor for the human condition, where each person embodies both angelic and demonic essences.
Zhao’s artistic style is marked by its fusion of reality and fantasy, often drawing heavily on literary influences to create scenes that blend childhood fairy tales with stark, mature themes.
His work typically features exaggerated and abstracted figures, set in vivid, surreal landscapes that challenge conventional perspectives. This narrative approach imbues his paintings with a deep sense of melancholy, rebellion and contemplation.
In “The Witch Hunter J and the Smoking Hen,” Zhao utilizes this distinctive style to craft a scene that is both whimsical and unsettling.
The painting depicts bizarre figures in a disjointed landscape, rendered in muted grayish-pink tones that enhance its dreamlike quality.
Through this work, Zhao invites viewers to explore the complex interplay between innocence and corruption, presenting a visual allegory that reflects the dual nature of human experience — where mythic elements of childhood imaginings are confronted by the harsh realities of adult life.
Zheng’s artistic oeuvre reflects his multifaceted background as an artist, musician and writer, contributing to a style that is fluid, non-academic and deeply personal.
His brushwork, often loose and relaxed, allows for an intimate yet unstructured portrayal of his subjects, highlighting the inherent casualness that defines his approach. In his works, Zheng intentionally leaves spaces blank, which invite viewers to engage imaginatively with the canvas, echoing the unfinished tales of a fable.
In “She and Tree outside the Window,” Zheng captures a figure enveloped by the dense, overgrown foliage of a tree, peering out from an undefined, isolated space within a forest.
The painting not only portrays the physical entanglement of nature but also metaphorically illustrates the constraints and pressures of contemporary life — money, fame and societal expectations — that shackle individuals.
The figure’s subdued and somewhat oppressed gaze subtly conveys a longing for freedom or escape, making the painting a poignant commentary on the human condition. The lush greens and tangled branches dominate the visual field, creating a sense of suffocation and emphasizing the overwhelming feeling of being bound by unseen forces.
Liu’s artistic approach is deeply influenced by his academic training at the Luxun Academy of Fine Arts, known for its strong foundational skills in painting.
However, Liu has deliberately moved away from the strictures of academic art to embrace a more abstract and less detailed style.
This shift allows him to focus on the essence of form and movement, liberating his figures from the constraints of detailed realism. His work often features repetitive motifs of human figures, which he uses to explore the themes of identity and existence in a modern, dehumanized context.
In “The Man by the River” and its companion piece, Liu captures figures on skateboards in a minimalist yet expressive manner. It depicts a contemplative figure poised on a skateboard, a juxtaposition that infuses the static pose with a sense of potential movement.
The companion painting mirrors this theme, exploring similar contours and emotions, which highlights Liu’s interest in how slight variations in a repeated form can convey different emotional states and narratives.
These works exemplify his focus on the outline and silhouette, reducing the human form to its bare essentials. This simplification strips away personal identity, emphasizing universal human themes.
Wang’s expressive artistry is characterized by her dynamic use of sweeping and semi-rotational brushstrokes that inject a vibrant, kinetic energy into her works.
This technique effectively blurs the lines between the figures and their backgrounds, making her paintings immersive experiences that pull viewers into their emotional landscapes.
Wang’s art often explores themes of intimacy and alienation within relationships, utilizing abstract forms and a vivid palette to evoke deep emotional responses.
The painting “Hug” features soft, swirling brushstrokes which abstract the figures to the extent that facial expressions and detailed body language are minimized, focusing instead on the overall emotion of warmth and mutual comfort. This style creates a sense of enduring, gentle affection, portraying a relationship that is deep and nurturing.
In contrast, “Twilight” presents a more complex interaction between two figures, set against a dark, tumultuous background.
This painting captures a moment that could either be a dispute or a difficult embrace, reflecting the ambiguity and often complicated nature of close relationships. The stark contrast in colors and the intense, almost aggressive brushwork enhance the feeling of emotional turmoil and confusion.
Lu’s artwork “Best of the Best Draw — The Mythical Beast and His Children” showcases his innovative approach to blending diverse media such as artificial intelligence, paper cutting and painting.
In this piece, Lu explores the intersection of technology and traditional artistry, creating figures that oscillate between the realms of mythical beasts and demonic creatures, mirroring the complex narrative of Lucifer himself.
- About Us
- |
- Terms of Use
- |
-
RSS - |
- Privacy Policy
- |
- Contact Us
- |
- Shanghai Call Center: 962288
- |
- Tip-off hotline: 52920043
- 沪ICP证：沪ICP备05050403号-1
- |
- 互联网新闻信息服务许可证：31120180004
- |
- 网络视听许可证：0909346
- |
- 广播电视节目制作许可证：沪字第354号
- |
- 增值电信业务经营许可证：沪B2-20120012
Copyright © 1999- Shanghai Daily. All rights reserved.Preferably viewed with Internet Explorer 8 or newer browsers.
