Since 2012, my works started to fall into three categories: mixed media on paper, acrylic on canvas and mixed media on wooden board. In creation I proceed these three types at the simultaneously, not interfering with each other, the three types of seem not quite the same, however they reach the same goal by different means.
Intuitively, canvas is suitable for image, paper is miscellaneous, monochrome wooden board is simple. I stick transparent adhesive tapes to the frame to fix the figure then coloring, due to the transparency and tenacity of the tapes and the interference of the visual and environmental factors, in the coloring procedure it would generate a slight deviation in the edges of the figure, the original reasonable image relationship would therefore have some slight errors, I choose to amplify these errors while secure the visual harmony. The works of wooden boards are the derivatives of the canvas works, I usually conduct several creations on wooden boards in the gaps of the canvas works, I extrude the color layers on the base over and over utilizing the plasticity of acrylic, while broadening the margin of the base, presenting the heavy texture. The production of works on paper is the most convenient, a piece of sketching paper, a ball-pen and a ruler is all I need, I need to ensure very accurate horizontal and vertical lines in the beginning, once there is a deviation of the line, the wrongs followed becomes bigger, however the imperfection generated in the preciseness is the most intriguing. I do not express or record, only produce the inevitable error with the aid of some kind of image.
Sometimes I think, if art is a career, does that mean I could invest indifferently, or does it means that I don 't need passion for creative impulse, don 't need inspiration and stay up all night creating a masterpiece? If this is a reasonable assumption, does that mean that I only need a stable status? While painting, I do not have high passion, even in most of the time it is boring, everyday extremely repeating a kind of simplest manual labor; I tried to eliminate the paranoid, individual attitude and excess emotion; at least at this stage I am tired of the expression in the painting, the noble praise, and the miscellaneous narrative, I just enjoy experiencing a kind of state, feeling every little bits in the process.
I’m not willing to drawing in the crowded classroom, nor am I accustomed to the gathering area for young artist, decent work environment makes me extremely unsettling; I would rather paint in that passageway which is not quite like a studio, the zigzag terrace, the natural light coming from the garret door, the summer heatwave of Chongqing, and the permeating cold wind in the winter, all these external stimuli however make me more sensible. I think if the creation in the future is still related to myself, it might be happening in some passageway, some balcony not very wide, or an unknown nook; after all, the matter of art is found in life.
This year I have painted flowers and grass, the wall with uneven thickness, and illogical room; I do not value the specific meaning of the subject, just obsessed with a shadow in the light, two concave and convex points, three or four shapes, six or seven inaccurate parallels. I do have a thread for my creation, however I cannot tell clearly by words, I think the secret of art is that you can hardly explain with some kind of logic. For painting, I always dare not to say much, just I often tell myself “conduct yourself well”.
Fu Meijun
2015.12.14
