Painting art is a kind of knowledge, and it is the hard work given by genius. The highest state of art is that emotions cannot be copied.
Mr. Fu: You can often see in your paintings, face, skirt, and hands do virtual processing, but a certain pattern on the table, there will be a loud golden yellow, very eye-catching, and others are controlled in the rhythm in. You can see this clear contrast in your picture.
Miss Xia: Yes, as you said, I feel almost non-existent of the art that does not come from comparison. Studying the language basically took me ten years, which is a process of continuous improvement.
Mr. Fu: Please talk about the development process of your painting. From the beginning of your study to the several stages of change. What has affected you?
Miss Xia: In 1995, my research on the picture was first seen. The graduation work at the time of debut was still immature. It had a certain impact and appeal, but its fault was also very glaring. The skill was not purified, but the state of ignorance naturally bursts. One of the feelings, the physical strength and the kind of young impulses, was completed in a short time. Like a challenger, nothing can’t afford to lose.
It was exactly ten years from 1993 to 2003. I have been pursuing perfection. This perfection is the purification of the skill so that it is impeccable. Now that I am in another state, I think that kind of vitality is so valuable, I may not have it anymore. A particularly perfect thing is an artifact that is meaningless.
Realizing this kind of problem, I am not afraid of shortcomings now. I want to make it have a new flashpoint, and it will have the vitality of thirty years old that I have never had before. And I feel that I have the ability to control this because I have been driving for ten years and I have very good control of myself.
Mr. Fu: When you were in middle school, was it affected by Shen Ling?
Miss Xia: Right. If you follow a teacher you agree with and like, you will absorb her ideas very quickly. I followed Shen Ling, crossing the most important one, which is a misunderstanding of my understanding of aesthetics. What is this ridge? In general, it is enough to draw a sketch that is not realistic enough. Is it meticulous, and your color is very hard, very college. If you entangle this kind of thing without limit, you will prematurely consume your young love for essential life and the instinct you want to express.
Later, I went to the Academy of Fine Arts. I know that painting can go to the other extreme, you can develop your personality, and you are willing to paint how to draw. Because I drew a few very detailed sketches, my teacher said that if you do this, don’t do it in my studio, you can go to another studio. I don’t understand. Is there anything wrong with trying my best to draw it? I was not praised, but I was criticized. Why? I gave up, and this abandonment just happened to be me. My teacher said that if you draw to this extent today, anyone will draw it. Does it make sense? This is something that others want, not necessarily what you want. If you really want it, then you can’t force you. I think about it, I won’t understand it for a long time, but now I think about it, I will laugh.
This is the initial stage, and the next thing you do is how to express yourself in a very specific way. It’s not plain, you can use it in a language. You are probably the one you see most directly, like me, maybe it’s the teacher around me. But this does not prevent me from going through other things through this thing.
Mr. Fu: Who are the painters who played a more important role in you later? Or what is it that triggers you, triggers you, and ignites the same things in your area.
Miss Xia: When I was in middle school, I like Bonar and Vial. It may be the kind of impulse and embarrassment of a little girl to color. Many people said that I was like a nanometer in 1995. I also recognize it. Next, Picasso’s blue period will have deep traces in the third and fourth grades of my university. The biggest influence of Borak on me is his picture structure and color segmentation. I think he is really impeccable and great. I will prefer Degas and the entire Impressionist in 1995, and I will like things like Courbet. In 1997 and 1998, he began to study the early things of the Renaissance, Angelica, Botticelli. Later, I drew a series of things that were religious in form. Last year, I drew a number of relatively realistic things. I like Vermeer or the religious paintings of early Italian. I will pay attention to painters that many people don’t like, such as Gisott, and some bright and beautiful painters in Britain.
Mr. Fu: Why do you choose a fashionable girl, flowers, cafe, a leisurely lifestyle, or a classic theme?
Miss Xia: It’s like what you like in the dark. Many people think that I am from Shanghai, thinking that I have migrated from the south, but I am a rough-skinned, down-to-earth northerner. I may imagine people who are not the same as everyone. I have always liked beautiful women since childhood, an atmosphere, a kind of moist, moist, sly, a little sad, and a little bit of stagnation, a little pleasure, a little bit relaxed, this atmosphere seems to be only female And the environment can be expressed.
Mr. Fu: You have maintained the same subject matter and style for quite a long time. Do you want to change yourself and change another way?
Miss Xia: I have been born to perceive the world and have accumulated to the present 32 years old. What I have done before is to express my heart. I keep drawing, this is my profession. After painting a large number of paintings, it constitutes what I call this image. People will decide what kind of state you are from your paintings, and there may be some continuity. I will have some changes, deepen and expand on the basis of the level I know.
Mr. Fu: Seeing your home furnishings and flowers are very close to the feeling in your picture. You are still portraying your life.
Miss Xia: Maybe it is the ideal life and state. It is an intrinsic thing in your mind. What you draw is what you have. I don’t have this gene to paint violent, bloody, cruel, or to draw the mystery and dumb style.
I think that using memory to draw things is more real than you look at, closer to the essence. I think this is the advantage of women, just like you say to use the mind to capture things. I don’t deny that my things are relatively simple and relatively lonely. Who does Morandi blame for his life when he paints bottles and cans?
Mr. Fu: Is this related to your female identity?
Miss Xia: My expression is more feminine. It is the soft, non-stop feeling of rotation. The brushstrokes of Picasso and Van Gogh are very straightforward, and there may be differences between men and women at this point.
Mr. Fu: What do you think is the difference between men and women in art? Is her inner structure, her perception of the world, or the unique way she expresses her heart?
Miss Xia: First of all, women’s expression is close to the way of diplomats. Most women are more subtle and devious. Secondly, it is the result of performance. Women’s clothing will be more concerned about the lines, female composing will be more exquisite, sonatas are more, more soothing, jumping, and relaxed. She won’t be very intense, and there may be fewer things that shock you.
Thousands of years of suppression and closure, including foreign women, can’t make you so direct, so expressive. There is a framework for women, and out of this framework will be considered to be defamatory. We are still subject to this imperceptible restriction, and the expression will be slightly subtle, restrained, and feminine, not so sharp.
Of course, some female painters now maybe more staunch and more violent than men. I feel like a rubber band, which is suppressed to a level. The state is in violation of human nature. Once the force is taken back, she will bounce at once. Go in the opposite direction. It may be more intense and more than ever.
Mr. Fu: How do you view the works of the patriarchal art circle and male artists? Do you have any general views on men?
Miss Xia: From 1995 to the present, I have always been an ostrich-type mentality. It is ridiculous to put my head in the sand, but it is also very practical. Don’t always think that it is a patriarchal society, always based on male standards. Lord, this is for sure. But if you have this kind of mentality to paint, you may be able to cater to them or go against them. You can’t express yourself. Men are never a thing that makes me feel confused. Because I am very simple, don’t think about anything other than painting.
If men accuse women of being brainless and not paying attention to politics, this is actually caused by men. This role was assigned to men from the beginning. If you say that your mind is simple, your mind is frivolous, not deep enough, there is no sense of social historical responsibility, etc., so you are destined to choose something shallow. I think this accusation is accusing them. If I change a division of labor, I believe that women will do well.
Mr. Fu: Although your picture is expressed in oil painting medium, there are freehand strokes and a sense of fluidity in the light and shadow. There is a very oriental plot.
Miss Xia: I have been learning Chinese painting since I was a child. I always feel that the way to dissolve oriental culture into a Western painting is like a slogan, but it is better to dissolve it from the blood. I prefer to use Chinese painting to draw oil paintings by writing pens. I will ruin the failed painting because “the air is not smooth.” In fact, I was using a kind of ink painting consciousness, but the medium was changed to oil paint. This painting is good because it is very smooth, smooth, vivid and coherent. It has the character of Chinese painting. I may be different from other people who paint oil paintings.
It is very difficult for me to make the combination of shape and color in place and to be vivid. My painting is a one-off thing. After the second stroke, it fails. Everything is connected. If the oil painting is at its best, it is the kind of thing that is done in one go. Whether it is Chinese painting or an oil painting, it also has a lot of cumbersome, repeated descriptions of clumsy, clumsy are also very good. Things that are too fluid may also be very popular. In fact, the contrast between simple and simple, well-behaved contrast, the contrast between fluency and stagnation, as well as the contrast of color and calm, will make your picture more vivid and give the painting agility and expressiveness.
Mr. Fu: What is the process of your painting?
Miss Xia: The big painting usually takes one month to draw, and the small painting is completed in a week or two. I paint very fast, oil painting has its limitations, sometimes I will do a very thick texture, you have to wait for it to do, is a very painful process. I didn’t have any small composition before I made the texture, that is, I didn’t aim to do it. Make a texture with more than a hundred dollars of Korean barreled oil paint. Sometimes my paintings need to be rolled. To be shipped overseas, the materials must be very particular. I have used the hand-developed pigments of the Netherlands since the year before, although it is quite expensive, but how to roll it is all right.
As long as I feel that it is obstructing my eyes, I will be very patient and scrape off the excess texture little by little, and then sand it to level it. There is no way, everything is unknown. The beginning is to indiscriminately spread the air, of course, the inside of the cold, warm, black and white, size, structure, shape must be particular. I started to focus on the structure of the picture and proceeded to the second and third steps. I will pay attention to the position of the image. Those places need to be quiet, those places do not need these very specific problems. Change is also a process. Every step will have an unpredictable appearance, increasing the possibility of the picture. I will not let any action become a wasteful action.
Mr. Fu: But in this way, drawing ten sheets may be very different, but it is easy to repeat one hundred sheets, will there be a habitual composition pattern?
Miss Xia: A person, a desktop, is a habitual composition. Vermeer is also often a window, a person, a table. In all my pictures, no one’s posture is the same. There is no one desktop and one flower is the same. I pay attention to these subtle differences. I will try to make each painting different, but I still draw it by one person.
Mr. Fu: How do you think about the relationship between multimedia media, devices, and media such as video and media? Many oil paintings also emphasize conceptualism and no longer take care of visual language.
Miss Xia: Anything will be eliminated, and any mainstream and avant-garde things will retreat to the edge. In 1995 and 1996, I may feel that the shelf has fallen, but I think it is good to live now. This is a particularly normal reincarnation. For example, the Venice Film Festival, DV works like rubbish, and everyone is no longer obsessed with these junk-like works.
Painting on the shelf, or like our research skill has fallen behind, this should be admitted, but I don’t think so. It is best for everyone to engage in avant-garde, conceptual works, leaving me alone to draw language. The key is whether you can stick to your own things. One thing will eventually replace another. This is the constant change in life. It is very interesting. Life is an interest that provokes the desire to continue to explore its mystery.