The Logic of Sensation

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© Courtesy of the artist & ART SEASONS BEIJING
The Logic of Sensation

706 North 3rd Street
September 15th, 2012 - October 21st, 2012

+86 10 5978 9850
relocating, closed effective April 18, 2016


Why do we paint? Sensation, that is what

we paint!

When ancient people started to paint, they

went on to create pictographic scr ipts.

Then painting went beyond its pictorial and

narrative functions and, in its transition

from sensory stimuli to that of the nervous

system, it empowered the brain to think

logically. Words and languages are the

most universal symbolicsys tems but

painting expresses the nature of perceptible

substances and matters.

The logic of sensation is a beam of light and

what we need at the bottom of our heart;

it helps to guide us in this chaotic world.

Roland Barthes’s conclusion about visual

objects is that "I see, I feel, hence I notice, I

observe and I think".

The works of the four artists featured in Art

Season’s current exhibition express their

unique sensations being at ease. However,

never have they been satisfied with brush

as the medium, and their works exhibit

multi-sensory views.

Xinjian’s paintings comprise a powerful

pure visual space woven by hand. The colors

of the senses are applied by the palette

knife to massive strokes so as to render

material deconstruction to visual images,

transforming them into a bas-relief painting

suspended between sculpture and painting.

His painting depicts things existent between

objects. "Still Objects" series describes

supple human body, beautiful and fleeting,

which is in continuous motion but various

postures, trying to breaking away from a

colorless beam of light. The body stops at

the beginning of time. The triptych work

"Metropolis" and "South Sea – White Tiger"

symbolize catastrophe merging with the

flowing rhythm of power in perpetuity; the

body passes a vast space and the summit

where time meets; visions fall from the

pictorial codes and achieve the harmony

of heart and soul, to bear witness to Igor

F Stravinsky’s sunflower in a prehistoric

valley of silence, accompanied by the music

from Le Sacre du Printemps.

Macchie defines Tian Lu’s paintings and

makes sure that hisi s different from

French artist Georges Seurat’s pointillism

school, which is defined specifically by the

use of dots. Tian Lu’s subjective dots and

patches cover the entire canvas, break from

easel paintings, and go beyond the frame by

creating an exotic, illusionary and bizarre

landscape. His work is meticulous like math

and has a minute hold on the pictures and

patterns. Black, white and gray dots alone

trigger our sensory logics: life has been

entrusted to a piece of luggage; to a ghastly

and empty geometric form; an grand

idealized building, which has been divested

of time and by vegetation; to cold violence

that pervades the still, gray emptiness and

is about to be obliterated by ruthlessness.

Halting his cartoon style painting patent, He

Jia holds a circular PV board and conducts

a new painting experiment. I picture him

doing graffiti as translucent as marble.

Unfortunately, unlike Paris, Beijing does

not permit graffiti on the streets. In Paris,

you may mark at will the walls of a lane

a celebrity used to inhabit; you may spray

your truck and drive it around everywhere.

Even on museum exhibitions may graffiti be
found. He Jia seeks to transform himself

into a shaman with his gorgeous mystical

graffiti paintings full of mythological visions

like "Life of Extravagance" and "Moonlight

in the Water". Maybe he wants to reflect

Beijing, the Vanity Fair that is filled with

corruption and decadence, where people

wear a mask out of bravado.

Romantic and talented in literature, Lan

Yi upholds the notion-centric trends of the

Tang and Song Dynasties. What with birds,

flowers, fishes and bugs, he uses complex

lines and level planes to create luxuriant

Tang style paintings: in golden, dark green,

diamond-blue, dark red and rouge pink

hues. He tried to preserve the or iental

borders but cannot help resorting to inlaid

Byzantine painting style. He seems to try to

rebuild a new artificial Chinese-style ideal

of landscape, and to render it irresistible

like drug so that he can indulge himself in

the mirage of narcissism.

The works of these artists at this exhibition

do not connect you directly to the theme.

So wel l versed in ar t i st i c exper iment ,

they put on the easel the essence of their

imaginat i ve por t rayal , which has been

engraved upon their mind before the act

of paint ing commences. The opposi t ion

b etwe e n t h e v i s u a l o b j e c t s a n d t h e i r

visualizations damps the complexity and

produces images that could not have been

pictured by the visual senses. This gives the

typical analogical art of painting multiple

meanings and helps you see the spirituality

of the age.

Only when are we face to face wi th the

canvas can we escape from the trivialities

and conventionalities of life.

Only when are we equipped with the courage

to send the Curiosity spacecraft can we

become involved in major contemporary

events – that calls for 2500 million dollars.

The artist paints his ideas. More importantly,

only when you step out of the canvas, with

your numbed senses, can you save yourself.