Analysis
Referring to the Bloodline paintings, Zhang noted that old photographs "are a particular visual language" and says: "I am seeking to create an effect of 'false photographs' — to re-embellish already 'embellished' histories and lives." He said: "On the surface the faces in these portraits appear as calm as still water, but underneath there is great emotional turbulence. Within this state of conflict the propagation of obscure and ambiguous destinies is carried on from generation to generation."
Regarding the influences of China's political upheavals on his paintings, Zhang said, "For me, the Cultural Revolution is a psychological state, not a historical fact. It has a very strict connection with my childhood, and I think there are many things linking the psychology of the Chinese people today with the psychology of the Chinese people back then."
Regarding the portrait-like format of the works, he noted, "Posing for a photograph, people already display a certain formality. It is already something artificial. What I do is increase this artificiality and this sense of formalism."
Asked about the full title of the Bloodline series. Bloodline: the Big Family, Zhang said:
We all live 'in a big family'. The first lesson we have to learn is how to protect ourselves and keep our experiences locked up in an inner chamber away from the prying eyes of others, while at the same time living in harmony as a member of this big family. In this sense, the "family" is a unit for the continuity of life and an idealized mechanism for procreation. It embodies power, hope, life, envy, lies, duty and love. The 'family' becomes the standard model and the focus for the contradictions of life experiences. We interact and depend on each other for support and assurance.
The Bloodline paintings often feature small patches of colour, which are open to a variety of interpretations.
Read more about this topic: Zhang Xiaogang
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