Conversation with Blue Roof Artists and Curator

Curator: Yan Cheng

Participating Artists: 

Ajiana

Muyuan Xu

Liu Shi

Mingjing Huang

Deng Feng

Xiao Ye

Xu Li

Zeyi Tang

Diao Yi

Jianchun Wu

Liao Li

2. Xiao Ye

Xiao Ye, formerly known as Tang Yong, was born in 1964 in Shijiazhuang, Hebei Province. He graduated from the Sichuan Fine Arts Institute Sculpture Department in 1990, and has been producing public artworks and paintings for over three decades now. He lives and works in Chengdu.

Xiao Ye’s painting is quite unique and artwork Cut caught my eye. This painting suggests that matters happening in life are “cutting flesh.” Power ‘cuts flesh,’ and money ‘cuts flesh.’ When we stand before the Daily Lessons 2022, we are aphasic, finding ourselves at a loss for words . What are these seemingly disordered colored fields trying to say? Xiao Ye’s words provide some answers.

YL: Are the artworks in Daily Lessons 2022 some form of daily sketches you made? They are quite abstract!

Xiao Ye (Hereafter written as XY) : Yes, they are remnants of my memories which I render in in images, as a kind of visual summary of what’s going on in my head. In this information age, we absorb images everyday of social events in the wider world. Time is a vital element of existence, and information we absorb stays within us in fragmented form. The act of painting is spontaneous, sometimes mechanical or even aimless.

YL: What the difference for you between painting and sculpture?

XY: Sculpture is spiritual, whereas painting is more flat and graphic. My perception of sculpture exists apart from its physical form. Its spirit hovers immaterially about the room while the sculptural work stands within physical space.

Xiao Ye, manuscript, Day Lesson <2022.2.6>,Acrylic on Paper,2022

3. Xu Li

Xu Li was born in 1968 in Chengdu, Sichuan. He graduated from the Sichuan Fine Arts Institute in 1989. His works have been exhibited in many domestic and international exhibitions. He currently lives and works in Chengdu.

In the exhibition catalogue, Xu Li’s painting embraces a sense of nostalgia and romance. We were eager to learn more about the story behind it.

YL: Odd peripheral corners of the urban landscape occur in your paintings. Why urban?

Xu Li (Hereafter written as XL) : My creation comes from my own living surroundings. Cities for me are like oracles ,  I like the sense of alienation, and find it kind of romantic.

YL: The composition of your painting seems to relate to photography in some way. Have you ever studied photography or used it in your painting process?

XL: I have never studied photography. It’s true, my paintings tend to be realistic.

YL: Is the low-saturation red in the painting intentional or accidental? Does it relate to nostalgia in some way?

XL: This is Intentional. Some parts of the painting were not red, but I used red to make the whole picture pop. Of course, there is a certain connection with old times.

Xu Li,Summer Palace No.4,Oil on canvas, 100x80cm ,2018

4.Curator Yan Cheng

We discussed the curatorial ideas with curator, Yan Cheng.

YL: How did you come up with the idea for this exhibition?

Yan Cheng (Hereafter written as YC) : I curated exhibitions for these artists around 2009 and 2010 ,here at Blue Roof, as well.These are the pioneers of the  Blue Roof art village, one of the oldest and most mature art villages in China. Hundreds of artists live and create here, expanding their national and international impact .

YL: What are some of the differences between this generation of Blue Roof artists and younger generations?

YC: Young people are sharp and have a lot of ideas,  while this group of first generation Blue Roof artists have a lot of life experience. Although artistic creation relies on intuition, this intuition is supported by the logical system of art history. The reason why contemporary art is difficult to grasp is that its foundation is difficult to establish, requiring a huge conceptual framework and delicate life experience. Art is not purely rational like philosophy. It is more emotional, with original art inspiration coming from everyday life. One’s current daily life is also an important concern and serves as the root of perception for the artist. Life is also art. This group of artists have something in common with one another.  They are concerned with their own innermost thoughts, and experience in their hearts has reached a subtle, refined level.

YL: Please explain the sentence in the preface, “To leave us at a loss for words is the highest achievement for the artist.”

YC: Art history is a shaped logical thinking system. If we jam this system and leave the institutionalization of art ‘at a loss for words,’ then there is the possibility for a new logical thinking system to emerge. This new logic may belong to the future, it may be ahead of its time, or it may not yet be understood. This new logical appearance serves to actually supplement art history. To be remembered for bringing this aphasia about, to leave art history at a loss for words, and to be remembered in this way, is the highest honor for an artist and their artwork.