Page 324 - 亚洲二十世纪及当代艺术

86 ॢೡ b.1975 Qin Qi

ʃ؍ Xiao Lin
ذ੹ ೥̺ Oil on canvas
3
3
ɚ㖼ɓɚϋЪ 100 × 100 cm. 39 /8 × 39 /8 in.
Painted in 2012
Ը๕
̏ԯ१̨ʕ਷຅˾ᖵஔዚ࿴ PROVENANCE
Platform China Contemporary Art Institute,
ତԭݲࠠࠅӷɛᔛ࢕ٜટᒅІɪࠑԸ๕
Beijing
Acquired directly by present important private
HKD 170,000 – 250,000 Asian collector from the above
USD 21,800 – 32,100

ॢೡʃ؍‘dذ੹೥̺d100 Ò 80 cmd2012 ϋЪ
Known for his hyper-realistic paintings of fragmented social silent moment, a passing thought appears — at a young age
and historical narratives, Chinese Contemporary artist Qin Qi of twenties, love, affection, and anticipation runs through her
presents a window between reality and the imaginative. Qin head. Just like the sweetness of cherries, each remembrance
graduated from Xi’an Academy of Fine Arts in 1994, followed by and response of love is instilled into every dish. While Xiao Lin’s
a postgraduate study in Oil Painting at Luxun Academy of Fine thoughts are imaginative, ambiguous, and interpretive, each
Arts. Upon his graduation in 2002, Qin remained as a teacher at symbolic element opens a dialogue for the imagination and
the University, and proceeded with Art History classes, ranging meaning between the food groups and free memory.
from Neoclassical Romanticism, historical folkloric painting, I am a Performer on My Own Stage
Cubism and Symbolism focus. In 2010, Minsheng Art Museum, The two chefs are nearly identical in Qin’s narrative. Gazing
Shanghai organized a major solo exhibition for Qin, titled in the same direction, they both sit by the edge of the table,
Chairs Can Save Lives. This inaugural exhibition shaped Qin to holding their cheeks in their palms. This static scenery can
become a leading figure in a Chinese New Painting. With still be compared to a futuristic dimension, allowing viewers the
life to human portraits, his prolific works developed rapidly. In freedom to play multiple possibilities through one picture.
particular, Xiao Lin, an important work of Qin completed in 2012 Compared to a solo work by Qin, also titled Xiao Lin, the latter
establishes his character, spirituality and freedom as an artist.
can be perceived as an extension of the past, a developed
When Historical Heavenly Fruit Dears Dreamscape Sweet thought of the artist. Upon reading Qin’s oeuvre, it is likely that
Cherry both chefs are of the same character Xiao Lin. Figure on the
In Qin’s oeuvre, the Chef series started with the completion of left wears a yellow scarf, while the right wears a red scarf.
Xiao Lin in 2012. The work on canvas introduces an intimate The minor difference in attire has strong reference with Andy
relationship between the chef and the food. In the top centre, Warhol’s pop portrait iconography. With close examination,
the phrase “cherry” is written in Chinese in small lettering. figure in yellow on the left hides her left hand behind the bend
With limited explanation, viewers are invited to engage their of her right arm, while the cook in red, in contrast, generously
own interpretation. Under the context of chef and food, rests her left hand on the tabletop, making a gesture, with the
“cherry”serves as a movie-narration, a passing thought from high neckline of her sweater spreading out and a sliver of red
the two chefs by the table. peeking out from the cuffs of her sleeves, just like cherries,
showing a bright and beautiful gesture. The chef in yellow
In the absence of cherries in Xiao Lin, the popular fruit is has a look of anticipation and longing, while the woman in
actually apparent in many classical painting subjects. For red, shrouded in light, is bright and resolute, as if she is not
instance, Renaissance master Titian depicts cherry as “fruit of disturbed by anything, each corresponding to the cherries
the heaven”. Across Eastern and Western languages, cherries metaphors of “love” and “brightness”. With the convergence
also represent “maidenhood”, of colour, character, posture and the metaphor of cherries,
“sweetness”, “brightness”, the appearance and demeanour of the two protagonists are
“ v ibrant love” and other juxtaposed from each other.
symbols.
From a duality of characters, Qin explores the notion and
Qin Qi inserts artistic idioms existence of self and true self, to which differs from the
and symbolism in many of his standard and universal written form of “I” and “self”. In a
works. In Xiao Lin, the imagery surrealistic and symbolic narrative, each painting of Qin’s
of the chefs are closely linked narrates a dramatic and extraordinary story. As a painter, Qin
to Xiao Lin’s thoughtful gaze, encourages us to view everyday life in multiple perspectives,
as the character’s cheeks rest
ॢೡᄼࢪၾͣᕰ No.1‘dذ੹೥̺d revealing a kaleidoscope of experiences.
120 Ò 120 cmd2015 ϋЪdשርϓʹ comfortably on her head. In a
ᄆ 1,056,000 ʩಥ࿆
28 5