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【2003】Right There—Wang yin


My recent works, as always, are lacking in visual unity. They might seem original, but they exist, for the most part, outside of time, in particular without reference to the present time. They give the impression of being worn out, coarse, and messy, but they are neither assemblages of bric-a-brac, nor arbitrary haphazard compositions.  I have my own reasons and logic for working in this way.  What has always appealed to me in painting is simply the possibility of capturing a perception of painting when I am working, perception shaped by my life and by my conception of painting.


I think that painting could cease to progress in terms of style and type and, without these notions, cease to have distinctive qualities or symbols.  Painting could also experience constant formal renewal, revealing new signs and allowing completely free expression.  It could even become a mediocre art form, lacking in creativity and destined to failure.  Of course, the ultimate goal is to make it more provocative.  Painting should actually challenge the established paradigms; it should put to the test what perception renders stiff and systematic, the "good manners" and "good taste" of those pictures hung in living rooms and exhibits.


Anyone dissatisfied with reality tries to find a solution (a way out). This simple and basic reasoning applies to artists as well - after all, painting is actually a very down-to-earth kind of work.