My main core idea is through my work.
I hope that even some people are harmed in childhood by those closest to them.
We should still have a yearning for a bright future.
I also hope that society and people can pay attention to the importance of the environment in which children grow up.
We can't let a child spend a lifetime healing his heart.
Zhang Xiaogang's masterpiece "Blood - Big Family: Family Portrait No. 2" was created in 1993. It is the second of two important pioneering works of "Blood - Big Family" series.
This is the only known work in the series that is still in private collection. It is rare and marks the beginning of blood - Big Family series, which is of great academic significance.
1993 marked a watershed in Zhang xiaogang's creative career.
From the 1980s to the early 1990s, he constructed a dream monologue in expressionism and surrealism style.
1993 was the year when he rejected expressionism and questioned Chinese identity in purely surreal prose, slowly moving away from philosophical myths about individual existence to explore national history and collective memory.
The painting is based on old family photos of Zhang xiaogang's parents and older brother, forming a classic family portrait.
The baby in the middle is painted a bright yellow that contrasts sharply with the faded brown and yellow in the portrait.
Two red lines extend from the baby's body, connecting him to his parents.
On the top left of the screen are weather ICONS and pop music briefs.
The completion of this work marked the debut of the first two works under the title of family portraits, which Zhang xiaogang and renowned art critic Zhang Songren named "Blood - Big Family".
The first is "Blood -- Big Family: Family Portrait No. 1", which was first exhibited at the 22nd Sao Paulo International Biennale and is now in the Tokushima Modern Art Museum.
This work is "blood - big Family: Family Photo No. 2", it sustenance of the whole generation of heavy psychological state
Zhang Xiaogang is an artist I like very much. I was deeply impressed by his work. Zhang xiaogang once said, "I care more about personal memory. I believe that large scale memories are accumulated by small scale memories, which is why I choose to start from the perspective of family. Families are the basic units of small-scale memory, but they contain the collective memory of an entire nation and its people." And my work has been influenced by his work. In my country, parents always feel that they should educate their children in their own way. Even some parents of the older generation think that having children is to increase the labor force of the family. The death of a child is a common thing for some parents. A child's life is like a pig, a cow, a sheep on a farm. Because in the early days, children could be bought and sold as commodities. Even though it's illegal. But there are people who do it. Until now, this phenomenon has gradually disappeared.
My memory is more than just my personal pain. There are often some children who have suffered the same situation when they were young. Some parents think it's normal to beat their children and abuse them. Their children are their property.My memory is more than just my personal pain. In my works, I blur the appearance of my mother and me, which is also a metaphor for some people's childhood experiences similar to mine.
Zhang Xiaogang's blood Series, which encapsulates the collective consciousness of an entire generation, is widely regarded as one of the most important and contemporary works in contemporary Chinese art history. In addition, in China after 1950, there are some special relationships between children and their parents.Zhang xiaogang's works record the artist's personal and family memories, but also resonate with the collective dreams and psychological traumas of an entire alienated generation. Each piece invites the viewer to bring his own experience and thinking into each image, and to fill the gaps with personal stories, experiences and reflections.
Zhang Xiaogang once wrote that these characters represent "the struggle of the soul in the face of the pressure of a single standard of the public, and the feeling full of tension behind the calm expression of water", which is not only the characters under the characteristics of Chinese culture, but also the global issues that capture the changes in today's world.
Blood ties: Big Family No. 3, 1997, Okinawa Prefecture Museum
Emma Talbot is an English artist who lives and works in Walthamstow, London.I like this series of her works very much.
In particular, her paintings are presented in a narrative way.
This is what I feel most directly.
These works seem to make the viewer understand the meaning or deeper meaning of the painting.
At the same time, she used different shapes and colors to decorate her frames.
This gave me a lot of inspiration.
My previous work just wanted to separate each painting.
I think it makes my work more independent.
But like I said before.
A tree has many branches, but they all belong to a whole and are related to each other.
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Yayoi Kusama Self Portrait, Acrylic on canvas, 227.3 x 181.9cm, 2010
Self-portrait by Yayoi Kusama, Acrylic on canvas, 145.5×112cm, 2010
Yayoi Kusama was born in 1929 in Matsumoto, Nagano Prefecture, Japan, and grew up in a wealthy bourgeois family. But when she started expressing her passion for making art, her family didn't support her. Her three works also depict her various emotions under the influence of her family. Mental illness, blurred vision, depression, distress, etc. Now, when we talk about the effects of a family, it's mostly about the negatives, and there are a few fairly clear criteria for determining whether your family system is healthy or not. The biggest difference between the two is how much freedom family members have as individuals to express themselves. In a healthy family environment, parents promote their children's personal expression, personal responsibility, and independence, and encourage them to develop their own sense of satisfaction and self-esteem. Unhealthy families tend to limit the individuality of children and require each member of the family to follow the same thoughts and behaviors as their elders, thus blurring individual boundaries within the family. My family always limits my thoughts. In fact, most traditional Chinese families face this problem. After the reform and opening up, this phenomenon began to decrease slowly. The images in my work are varied. From childhood to the age of ten, I displayed my different states. It's also a metaphor for my mother's state in the photo. There was a time when I had a breakdown when I felt like no one in the world loved me or cared about me. At that moment, I felt like the world was cutting my body with countless knives. I felt a great deal of pain. PASSAGE OF THE WIND by Yayoi Kusama illustrates what her spiritual world looks like. I think it's the common denominator of people with miserable childhoods. So I drew this slice of the spiritual world
PASSAGE OF THE WIND, Yayoi Kusama, Acrylic on canvas, 53×45.5cm, 1988
Charcoal on the canvas 150X150CM
2 years old
5 years old
6 years old
8 years old
9 years old
Every stage has every state of mind, and I have memories from childhood. My feelings come from the way my mother treats me.
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Romanie Brooks, The Charwoman, oil on canvas, 77.1 x 102.9cm, 1904
Self-portrait by Romanie Brooks, oil on canvas, 117.5×68.3cm, 1923
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Romaine Brooks is an American artist. To escape the bullying of her mother and brother, Brooks spent her childhood hiding in the attic by drawing on the wall with chalk to relieve her fear. By the time he grew up, she was scarred by childhood memories of being repeatedly abandoned and hurt. This made it difficult for Brooks to trust others, and he had to arm her fragile heart with art to disguise his anxiety and fear. In terms of family, Brooks's grandfather is a leading figure in the Mining industry in the United States. It is supposed that Brooks, who was born in a wealthy family, should have lived a comfortable life. However, in fact, the artist's childhood was miserable like that of a low-level girl. Her mentally disturbed, patriarchal mother abused her both emotionally and physically: she was foster Ed in a slum at the age of six and sent to a convent to study.
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I like her work very much. Her work conveys an atmosphere of misery and desolation. So her paintings are all black, or dark colors. The color is single. And I have a similar and same experience with her. Whenever my mother beat me, I would hide in a corner by myself and draw pictures on the wall or the ground to release my emotions. So my works also appear black or deep colors. It's an expression of emotion. But the difference is that when I try to release myself, I also play with small animals. I like to touch animals, and I feel they don't hate me.
Like the dragonfly in my work.The zebra. Actually, zebras only live in zoos. That's just my fantasy. I hope one day I can ride a zebra around the world. These are all happy memories of my childhood.
Van Gogh's sunflowers are arguably the most famous paintings in the world. Of course, his life experience is also one of the most popular topics for discussion. I made a point of going to the National Gallery to see the master in his original work. When I started to get into art, I loved his sunflowers. Now I see the real original in front of me. I was shocked. He expressed himself with various flower positions in Sunflower, and sometimes even compared himself to sunflower. The work is full and pure yellow tone, showing the painter's heart seems to always boil with enthusiasm and vitality, the round like flame sunflower. What's more, it shows the painter's ardent desire and tenacious pursuit of life. The pieces of fiery yellow not only embody the natural brilliance but also express the painter's full experience of life and permanent excitement. Although Van Gogh only lived 37 years old, his life and art have always maintained a prosperous state, even if the poor, also did not throw away the maintenance of life and spirit of the brush.
The sunflowers he painted are not the true portraiture of nature, but the self-revelation of his life and spirit. They are his songs of praise for life with fire-like enthusiasm.
Van Gogh's art in that kind of uninhibited style, that kind of passionate color into another state of the art.
In the environment where I played as a child, there were many sunflowers. So I wanted to include sunflower elements in my photos. So I went to the flower shop and bought a lot of sunflowers. I watch the growth of sunflowers every day. I watched the whole process of sunflower blossoming. I can feel the vitality of the sunflower as it grows. Now I have added sunflowers to my work as a symbol of hope and the future. Because the whole picture is full of pain. But I also want the audience to feel positive. So my work is dark and sad, but also full of sunshine and optimism.
In the choice of materials, I chose charcoal and oil paints. Because in Unit2, I found that charcoal could appear as a burning flame when it was violently colliding with canvas. This feeling is very similar to when I was a child and saw adults burning hay in the dark. So I felt like I was back in the environment I knew as a child, and that terrible memory of that environment was recalled again in my mind. So I covered the black with white paint, but I deliberately used translucent techniques. Because here I want to show that even though the past was dark and sad. But I can't let go of the past. As for the use of oil painting materials, I found a disadvantage. Too much turpentine makes the picture dirty. So you have to control a certain amount.