《一片小树叶－题杨锴油画《创世纪》》诗/东荡子

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[楼主] 修理匠 2010-04-08 01:47:48

Significance and Bones
- About Yang Kai’s Exploration of Bodyness
by Wang Chunchen
（余博雅译）

Nowadays, the bottleneck painting encountered is that every method seems to be used before, as if the road of painting has already come to the end. Critics of the painting's present situation and development is being debated, at the same time they also look forward to recreating a new sensation, new style of painting.
The first time I saw Kai Yang's works, I was surprised. Had I not been told that he was merely a senior university student, I would thought it was painted by a sophisticated painter with years of experience. He is decisive and thoughtful. From his painting one can feel that he is thinking much more when facing the canvas are far than the painting itself can present. He cannot be decisive without thinking for a long time; he is decisive because he has abandoned the two-dimensional illusionistic painting language given to the canvas; instead he tries to present directly the properties of the canvas and the material attributions to the paint, pursuing something else in the direct expression. This is a commendable self-standard for the new generation of young artists: they do not follow fashion and do not give up self and think when facing the canvas.
Although Yang Kai's paintings have cleared up the general composition of visual image, hidden underneath the crudeness is pursue of meaning, which has become Yang Kai’s way of interpreting the world, a unique one that readers will have to use to enter his work. The figures in his works could be religious or legendary persons, or characters, animals. All are presented in a skeleton form like a perspective. His paintings have constructed free, undulating convex-concave forms, but what impacts on the vision is their questioning of meaning. For the viewer, this is a query: When the internal things have been revealed, what shall we interpret? When the problem is unfolded, are we prepared with a good answer? If painting being counteracted is just a technique revolution seeked by modernism, then in contemporary art, the deconstruction and reorganization of painting is not just an avant-garde technique, but an inquiry of new value by a generation of artists. The skeleton here is life support, and also a symbol of life, but whether it is life itself is a puzzle worthy of speculation.
This is precisely the problem of corporality we have to face. Questions like the origin of life, social evolution and decipherment of life codes, are not only research topics for evolutionists and biologists, but also subjects of enquiry for philosophers and thinkers: the body is not material; gender is not physiological; life can take on a more advanced form of existence. The cultural meaning of skeleton is often, in medicine, a structure in anatomy for diagnosing symptoms; in religion, a symbol of death and possibility of rebirth. To Yang Kai, his possible thought is an inquiry, a questioning about how meaning to be achieved. Whether it is the painting object he has chosen or artwork title he has given, both have shown that he is looking for something which belongs to his art pursuit. For the moment, the pursuit seems to be highbrow, distressing , but to the new generation, this must be done, because we are the same beings who have not changed since ancient times, facing with the ultimate long-lasting question: the physical significance and meaning of life. If philosophy is not able to answer it, then it might be in religion; if it is difficult to reconcile in religion, then it shall be in fantasy and immerse of art.
As a young painter, Yang Kai can continue thinking and fantasy.
Written at China Central Academy of Fine Arts in Beijing on 13rd, February, 2010