Xia Junna's Role Introduction

Xia Junna 199 1 graduated from the High School Attached to the Central Academy of Fine Arts and won the Award for Excellence in Graduation Creation. In the same year, he was admitted to the fourth studio of the Oil Painting Department of the Central Academy of Fine Arts. Learn from Wen, Ge and teachers to explore the integration of western oil painting language and modern and contemporary culture in China. During his school days, his works and creations won many awards and were collected by the college. 1995 graduated from the Oil Painting Department of the Central Academy of Fine Arts, and won the Excellence Award of the Central Academy of Fine Arts and the Okamatsu Family Scholarship of Japan.

Chinese name: Xia Junna.

Xia Junna Mbth

Nationality: China.

Ethnic group: Han nationality

Place of birth: Inner Mongolia

Date of birth: 197 1 July 16.

Occupation: painter

Graduate school: Middle school affiliated to Central Academy of Fine Arts.

Main achievements: Excellence Award of Central Academy of Fine Arts.

Okamatsu Family Scholarship in Japan

Award for Excellence in Graduation Creation

Masterpiece: A bumper year of life.

Character experience

Xia Junna, 197 1, was born in Inner Mongolia on July 6, 2006, and his ancestral home is Shandong. My father and mother both graduated from Beijing Agricultural University majoring in mechanical engineering. My father loves literature and art and has a profound traditional culture in China. The earliest artist in the family was his great-uncle Li Jingkai. He was the first batch of China students who went to France to study western art. After returning to China, he taught at Tianjin Academy of Fine Arts. 1979-1984 West Street Primary School in Chayouzhongqi, Wulanchabu League, Inner Mongolia. From 65438 to 0984, my family moved to the beautiful coastal city Weihai because of my parents' job transfer, and studied in Weihai No.2 Middle School. I studied Chinese painting figures with Mr Cong Jianzi, the first art teacher, and got in touch with painting art initially. 65438-0987 was admitted to the middle school attached to the Central Academy of Fine Arts and received strict art training from traditional colleges. The outlook on life and art in this period was directly influenced by Shen Ling, which laid a good foundation for the formation of painting style in the future. 199 1 graduated from the middle school attached to the Central Academy of Fine Arts and won the award for Excellence in graduation creation. In the same year, he was admitted to the fourth studio of the Oil Painting Department of the Central Academy of Fine Arts. Learn from Wen, Ge and teachers to explore the integration of western oil painting language and modern and contemporary culture in China. During his school days, his works and creations won many awards and were collected by the college. 1995 graduated from the Oil Painting Department of the Central Academy of Fine Arts, and won the Excellence Award of the Central Academy of Fine Arts and the Okamatsu Family Scholarship of Japan. 1996 participated in the Shanghai International Art Biennale; 1997 participated in China Art Exhibition (Shanghai Art Museum), China Sketch Art Exhibition (Beijing China Art Museum) and China Youth Oil Painting Exhibition (Beijing China Art Museum); 1998 Participated in Century-Women Art Exhibition (China Art Museum); 1999 participated in the art exhibition "new horizons-1the generation born around 970" (He Xiangning Art Museum); In 2000, she participated in The World of Female Painters-The Third Exhibition (Beijing International Art Museum) and 20th Century China Oil Painting Exhibition (Beijing China Art Museum).

Art star

Xia Junna with brown hair and black hair sat quietly. In Beijing's art circle, she is called a "market star"-both a market star and an art star. Obviously, Xia Junna sells one painting and ten. There is no doubt that Xia Junna, who just turned 30, is the most representative among young painters. It's hard for you to imagine that this young painter, who is defined between avant-garde and tradition, has never been to a bar or even a cafe. "Most of the time, I sit at home, eat three meals a day, draw pictures, year after year, day after day."

Xia Junna is talking about her life and ideals: "Before 2000, maybe I thought it was very happy to hold an art exhibition, but now I don't think so. Some glory is only a matter of minutes; " Now, relative freedom is my greatest ideal. "

Female art has become a force to be reckoned with among China artists since 1990s. In this group, the new generation is the most active factor. 1995 Xia Junna, who entered the painting world, is also the youngest, most potential and most striking one in this group.

In the past three years, she participated in a series of important exhibitions. Only in the year of graduation (1995), she won four awards in succession (graduation creation award of the Central Academy of Fine Arts, scholarship established by the Japanese Wang family of the Central Academy of Fine Arts, academy award, and annual award of the third China oil painting exhibition in China), and won another honor in the contemporary sketch art exhibition in China. At the same time, she also suffers from the interference of marketization and economic entanglement. Therefore, her concern is not only manifested in the academic level, but also in the market level; Not only praise, but also criticism. Praisers compare it with masters in the history of art, while critics think that her paintings are suspected of imitation, and her paintings have declined because of being involved in "business". She doesn't care much about this different argument herself. She doesn't think so highly of herself, nor does she feel that she is imitating anyone, or has a feeling that the river is going downhill. Every step she takes follows her own goals and doesn't want to follow anyone's advice. Her artistic independence makes me feel that her mature side is not as simple-minded and helpless as she is in dealing with economic affairs.

Xia Junna is a very "pure" painter. She doesn't rely on the intervention of ideas or the accumulation of materials. She only keeps a kind of painting "pure" and works on the lowest material basis. As long as she has brushes, paints and canvases, she can draw and draw big pictures. There is no sketch, not to mention that everything starts from the first stroke and comes from the process of drawing.

Creative style

Xia Junna obviously belongs to that kind of talented painter or something. Stylistically, her art belongs to the category of expressionism. Expressionist painters are some of the most natural and natural painters, especially in the era of the origin of realistic oil painting. Completely casual dots, smears and wipes make the oil painting magically scatter strange brilliance, and the black and white in the lead-gray tone constitute a mysterious light and shadow order that only exists in her paintings. Xia Junna's paintings usually start with one character's face, from which he deduces the posture of the body, from which he deduces another character, and then from which he deduces the environment. Here, the face of a character is not only the logical starting point of a painting, but also the center of the "speech" that constitutes an opinion work.

From this, we can easily find that there is always a contradiction in Xia Junna's works: those characters who are leisurely in thought are often in a state of inexplicable panic, doubt and anxiety in spirit, as if they have just come out of a nightmare in shock. Although the theme of painting is romantic flowers and girls, it does not give people a clear and light feeling. Even the theme of Bride in May is no exception. On the one hand, she wants to express the leisure and calmness of an elegant aristocrat that girls yearn for, on the other hand, she always unconsciously brings anxiety into the picture. This phenomenon cannot but remind us of some experiences related to her psychology.

Generally speaking, any art born from emotional experience is more or less autobiographical. No matter how idealistic you are, you can't hide the unforgettable things in your emotional experience. Those "spiritual events" that seem to have nothing to do with art always have a huge impact on art unexpectedly. Xia Junna's paintings are her inner songs. She was born in Chahe Zhongqi, Inner Mongolia, where she spent her childhood. Since she can remember, the young mind has been bearing the heavy burden of the previous generation in complete incomprehension. Until she left Inner Mongolia and grew to a large scale, this "heaviness" still lingered and was still in my heart. Her parents' experience was transformed into a survival experience when she first came to this world. When she tried to "tell" her life experience through art, what we saw was the initial psychological trace.

Artistic enlightenment

When Xia Junna was a student, some of her sketches and oil paintings had been far away from the habit of drawing models in class (although they were really classroom exercises), and showed an extraordinary modeling power and peculiar life sentiment with strong lines and light and shade. These sketches remind me of some similar works by western masters. But what I see from it is not only skill, but also a severe and cold life experience and sense of crisis. 1993, she painted a series of big birds, adding a surreal horror color. Unless otherwise specified, I would never have thought that these works were written by a girl who is still full of student spirit, so simple that people can't feel any major life experience. Xia Junna's artistic features are constantly summarized. When she was in the middle school attached to the Academy of Fine Arts, she was once the worst student in her class.

With the discovery and opening up of Shen Ling, she became the top student in her class. After entering Studio 4 of the Academy of Fine Arts, she found herself step by step under the strict teaching and guidance of Mr. Ge and her teachers, and made her own way step by step. Xia Junna was unconsciously influenced by some masters in her study: the quietness of Picasso's blue period, the noble temperament of Rehnova's characters, Balthus's unique temperament in modeling and Francesca's sacred religious atmosphere, but she didn't deliberately imitate anyone. She seldom goes to the library to read picture books, and seldom studies a school seriously. She works entirely by her own nature and artistic understanding. I don't know whether this spiritual resource from myself will be exhausted and how to replenish it, but I believe that Xia Junna can't be another identity that is more suitable for her than an artist.

She belongs to art by nature.

Art chronology

1971July 16 was born in Inner Mongolia; 1987 was admitted to the middle school affiliated to the Central Academy of Fine Arts; 199 1 graduated from the middle school attached to the Central Academy of Fine Arts and won the award for Excellence in graduation creation. In the same year, he was admitted to the fourth studio of the Oil Painting Department of the Central Academy of Fine Arts; Graduation creation won the Excellence Award of the Central Academy of Fine Arts and the Okamatsu Scholarship of Japan. His work Autumn participated in the 3rd China Oil Painting Annual Exhibition and won the silver prize.

1996 participated in Shanghai International Art Biennale, 1997 participated in China Art Exhibition (Shanghai Art Museum), China Sketch Art Exhibition (Beijing China Art Museum) and China Youth Oil Painting Exhibition (Beijing China Art Museum).

1998 Participated in the Century Women's Art Exhibition (China Art Museum)

In 2000, she participated in The World of Female Painters-The Third Exhibition (Beijing International Art Park) and 20th Century China Oil Painting Exhibition (Beijing China Art Museum). In the same year, a personal oil painting exhibition of Youth Suite was held (Shanghai Yibo Gallery).

200 1 Participated in the World Women's Art Exhibition (China Art Museum, Beijing) and the China Art Elite Annual Meeting held in Chengdu. Won the title of cutting-edge artist of the year, participated in the Chengdu Art Biennale (Chengdu), held a solo exhibition of the paper "Several Chunhua" (Soka Gallery, Taiwan Province), and participated in the nomination exhibition of women's oil paintings in China (Beijing

In 2003, he participated in the 3rd China Oil Painting Exhibition (China Art Museum), China Art Exhibition (China Millennium Monument) and New Figurative Art Exhibition (Liu Haisu Art Museum).

achievement

In the same year, he held a personal oil painting exhibition of Youth Suite (Shanghai Yibo Gallery); 200 1 Participated in the World Women's Art Exhibition (China Art Museum, Beijing) and the China Art Elite Annual Meeting held in Chengdu. Won the title of cutting-edge artist of the year, participated in the Chengdu Art Biennale (Chengdu), held a solo exhibition of several Chunhua papers (Soka Gallery, Taiwan Province), participated in the nomination exhibition of China women's oil paintings (Beijing, 2002, and participated in the summer solstice exhibition of art (Beijing Yanhuang Art Museum); In 2003, he participated in the 3rd China Oil Painting Exhibition (China Art Museum), China Art Exhibition (China Millennium Monument) and New Figurative Art Exhibition (Liu Haisu Art Museum). The works "Girls" series 1, 2 were collected by the Art Museum of the Central Academy of Fine Arts. The working bottle is collected by the Oil Painting Department of the Central Academy of Fine Arts. Assigned to teach in Beijing No.1 Normal School. In the same year, Qiu participated in the 3rd China Oil Painting Annual Exhibition and won the silver prize. This work participated in the Guardian auction the following spring and was collected by Hong Kong collectors. Published in the fourth issue of China Oil Painting. Participated in Hiroshima Art Festival to commemorate the 50th anniversary of the victory of the world anti-fascist war (Japan).

In April 2005, a large-scale solo exhibition "The Harvest Year of Life" was held in Shanghai Art Museum.

In May, 2005, a large-scale solo exhibition "The Harvest Year of Life" was held in China Art Museum.

Artistic view

Our times have given us unprecedented inspiration and opportunities, and nothing can stimulate people's creativity and imagination more than the period of change. Society accommodates many things that were unimaginable before, and young people are particularly active. At the same time, this is also a radical fast food era, and being not busy is its basic feature. The young people of our time received the most useless and pathetic early education in their teens, and they became the most complicated and turbulent real life after adulthood. The initially established concepts and standards were shattered in later social life, and the inconsistency left us at a loss for a long time. As a result, some people are painting still life in the way of Van Dyke, some people take off their clothes to raise the height of the Unknown Mountain by one meter, some people are advocating traditional aesthetics, and some people are shouting to be in line with international standards. Everything can exist, the key is our own needs, or what kind of artistic way we are more willing to accept.

Society provides us with a broad experimental space. Among the complicated artistic ways, I chose easel painting. When I face a blank canvas, I clearly realize my ability to feel and recognize life, but I never want to wander between theme, form and language, and rush between social criticism and ideological transformation. My thoughts are far from adapting to today's radical or avant-garde art forms. I often count my thoughts and analyze myself. I think painting is a simple and happy thing, just like playing chess and drinking tea. I am such a person that I can't burden my hobbies. I hope I can keep my simple and beautiful fun and quiet and carefree mood. I am willing to be a bystander, watching the tide rise and the dust settle, as it was in the past and as it will be in the future.

I am often immersed in my own imagination. In this absolute vacuum, everything is clearly discernible. Everything is vague and unknown, and there is a little room for imagination between similarity and difference. I like to roam in mysterious imagination and look for it in specious. I think what I found at this time is the most real, powerful and touching. In painting language, I tried to break the normal narrative space and light and shadow order and deconstruct the picture again, because I found that many ancient masters' works did not care about the existence of entities, but were more interested in the specific characteristics of the relationship between shape and color. They may think that the illusion of depth and volume has aesthetic value. Nature is worth imitating. First of all, it provides rich colors and shapes that we painters can never create. But how to reproduce human values and spirits from nature, there will be more nutrients here to nourish our creativity.

All good art contains abstract and surreal elements, just as it has both classical and romantic elements-order and surprise, wisdom and fantasy, consciousness and subconsciousness, and both personalities of artists must be brought into play. I belong to the kind of person who is extremely sensitive. Things or scenery that are insignificant to most people may have an impact on me. Perception is my tentacles to explore life, which can be transformed into songs and songs. Hidden under the open style, genre and artistic theory, it does not belong to any doctrine and does not obey criticism. This is the artist's private mentality. This is the field of fantasies and desires, dreams, nostalgia, secret needs and open plans, ideas and paranoia.

Unconsciously, painting has become my way of life, and I will naturally make my life artistic. What matters is not the form or content, but the ability to grasp and control them. Many people are more form-blind than color blindness. When we first came into contact with plastic arts, we could only distinguish the shape of two-dimensional space and could not judge the depth. Later, in order to meet the actual needs, it is necessary to cultivate the ability to judge the distance in roughly three dimensions, but after meeting the requirements of the actual needs, most people will not go deep. In this way, we are not very clear about the existence of form in a complete space in rationality and sensibility. In order to make my thinking span two dimensions and the picture return to two dimensions, I refuse to use photos or other picture materials, and I never sketch, because it prevents me from feeling space and form in fantasy and memory and from expressing myself more smoothly and accurately. My painting is very direct. Painting is a natural growth out of a certain need. I want to express, not describe. It is my ideal state to do it at one go, easily and without showing traces. I have never got into the habit of drawing according to traditional methods (sketching, sketching, enlarging, finalizing, etc.). ) I always can't wait to draw a white canvas before I think about what to draw. This is my nature. But in thinking, I prefer to accept rational logic, which may be a kind of domestic demand and a necessary supplement. I hope to maintain the conscious experience in the process of painting and strengthen my emotions through stronger control over the performance media.

To have a visual experience and turn my visual experience into a modeling language requires the ability to forget myself. Visual experience can't be based on feeling and perception alone. Feelings and perceptions that have not been purified by the essence of things will only stay on the surface of emotions or simply disappear into emotions. Hans hofmann said: "Any profound artistic expression is the product of conscious feeling of truth." To reach a certain height, we should not only creatively interpret the experience of nature, but also transform the feeling of nature into a creative interpretation on "expression media". Screen management is obviously not enough, but I thought, "Where are we going?" This is really a problem, an eternal problem.