A: I am used to make some anticipations of the next series of painting when I am busy with the current paintings. The anticipation is the most important. If I have no anticipation when I finish my works, then, basically speaking, it is the time for me to break off from the arts. Moreover, the second series of paintings are the continuation and improvement of the experiences of the first ones. For example of the images of the exaggerated injuries, the power of such images depends upon how to fill in with contents including the light and the facial expressions of the characters, just like the shooting of a film.

A: Maybe from both sides, but more from my personal experiences. I don't prefer to making the social culture into a certain concept. What I am mainly concerned about is my personal feelings. We, as individuals, are like small fish in a river and the conditioned reaction of the fish in the water is same as the experiences and imprints in the society. I am making a false impression in my paintings and the current paintings are a further step from the first batch of false impressions. The sense of false impressions in my earliest works is much in evidence. You will find it a false impression among whatever works of art.

A: It should be aimed at the realities. The false impression is an impossible reality.

A: The reality is an injury to me, but I have built up a landscape of injuries in a psychological way. Anything can be a real injury as long as it exerts any influences on your psychology and you will keep it in your mind to the end of your life. If it is a traffic accident, then the injury will not be so profound as it is.

A: In comparison with the last generation, there are neither much physical cruelty and injury, nor great ideological tides and trends for this generation, but the injury in their inner world of this generation is quite delicate. Why is the delicate state of minds is expressed so strongly in your paintings?

A:This is a rhetoric method. There was a period of "the Scar Art" in China at the end of 1970s. Under the cloak of realism and romanticism, the art was expressed in a comparatively delicate method of rhetoric, but I think it did not reach to their basic intentions. At the beginning of 1990s, the artists were hurt more profoundly in their hearts. They tried to make their expressions in the forms of pop culture and their identities, but it was very difficult for them to express their original intentions. What they expressed was an evasion. They escaped reality. The art means a way to express something that can be expressed the most impossibly in a linguistic method, but the language of art is a challenge to the nature.

A: Yes. I have asked the viewers about their opinions on my works. Their answers are almost same. They feel injured. Some of them remember their experiences and the others think that the challenge is a terrible thing.

A: Yes. I think that it is a challenge to the limit of my psychology. A: If you want to test the others with your works, you must pass the test yourself in advance. I think that I have passed the test. But some people may not pass such a test. They are afraid to be confronted with my paintings. This is a reality which is constituted with images. I think that I am aggressive in the creations of images. The image of the art in China is still in a process of simplicity and low class. I think that I am doing an interesting experiment.
A: This is an image of grown-up or growing.

A: It is to express the injuries in a very close relationship. This painting is just like a commemorative photo to convey a perceivable idea.

A: a relationship with my father or my family, but there is a common experience relative with the problems of all the families.

A: This painting is quite particular, "I" sitting on a stool look just like a devil or a little bloodsucker. His body is grown up and he is already an adult, but he is in a conflict with other adults and it is a subconscious conflict.

A: The contemporary art has a broader field. It can be in this way, or in that way. What I am concerned about is the emergence, changes, falling, burst and pressing of individual spirit.

A: The ideas are expressed in the communications. In my opinion, the ideas have less and less significance and they are expressed as a linguistic tool, a connecting method and a kind of grammar.

A: I do not care about the problems of forms relative with the realistic methods. What I am concerned about is how to make images and to change the images. Modeling is a traditional way of painting. I cannot say that my paintings have no relationship with the photography because I am very fond of photography. Photography is an exquisite science and a technology which have no relationship with the objects of expressions. I may have some imitations of the photography, but the boundary between the painting and the photography is not so important as before. The painting and the photography are naturally different.

A: He thinks that my paintings have a power. He prefers the results.
A: Certainly. It is unavoidable in such a country like China. The paintings of Qi Baishi would also be regarded a political symbol if they were exhibited in the West.

A: The new series of paintings of mine is to paint a comparatively silent environment. This is a step forward for my linguistic practices. I'd like to make some researches on the relationship between the visual metaphors and the reading, which needs a routine form of silence.

A: Experiencing should also be a narrative method. The techniques in these paintings are a warm method. You may enter the paintings relaxedly. You may find some realistically imitated details in the paintings and many fabricated relationship may be coming to you ceaselessly. You may accept these things, but, first of all, you must read the paintings for some minutes, then, you will think that these are the scenes that you are quite familiar with, but you cannot look at them in a routine way of psychology.

A: The status of pure languages that you have mentioned is more correct.


A: The pure language is a method to eliminate the artistic status. The pure art is an old concept, a concept about aesthetics. The status of the pure language should be beyond the limit of aesthetics.

A:I do not hope that there is aesthetics and make our efforts to eliminate the aesthetics and the artistry relative with the paintings. Creating a meaningless picture and the contents of the picture may have other functions. But for the art, it has no meaning.

A: You may find some traces of the narrations and the art itself, but it is impossible to eliminate the art completely. It is also a very foolish idea.

A:I wanted to eliminate the system of painting on the shelf and transform it into a psychological preparation for painting without any shelves, but you can have a psychological status of looking at a painting on the shelf. A part of the possible picture will play a role as the effects of a painting, but you may not think it as a painting, thus eliminating the possibility of painting on the shelf. But I have found that what I have done is actually almost same as the free-hand paintings of mountains and water in the Chinese traditional paintings. It is nothing but creating a false impression.

A:Yes. Painting on the shelf has left less and less work for the artists and many people dare not to set foot on the shelf because there is no more aesthetics for discussion in them. There is no really newer aesthetics and it is no other than the ceaseless copies of the former aesthetical system. Many people have regarded the on-the-shelf painting as a very dangerous field. But I would try to seek more if there was a little possibility.

A:Maybe. If the realist language is not enough, it has to be supplemented and extended. It is very important. We cannot say that the realist language has already come to an end, but we may say that the development of the language in that system in that era was prohibited. Therefore, it would not have more changes, but it does not mean the death of a thing. Learning from the images and learning from the newer things is ceaselessly continuing. Only the new visual experiences and experiences of expressions can be extended. I am quite optimistic about my work, but such a work can only be done by a few people, just like the scientific researches.

A: Now my paintings have become more stretching and profound, just like images and poetry. It is an expression of memories.

A: But the paintings are quite visual. You will not find that there is no visual affections in my paintings. What I prefer is not only the rhythmical changes which may be strong or smooth, but also the imagery poetry with meanings and attractions. That is the poetry of the language itself, not the poetry in a lyrical sense. What I am concerned about is the creation of image itself.