I Don Not Believe the Prediction of 2012 Doomsday
 – 18 Questions to Zhang Guangxian

Guangxian’s works give out a feeling of low profile and restriction. But you can never forget them after the first glance. Those alien like little creatures created by his stroke contain a sense of sorrow, silence, stubborn and innocence. They are trying to draw the attention from those increasingly numbed people on the earth. They are telling stories, expressing emotions, reminding us those forever lost childhood which was once beautiful, blurry or obscure.

1.The title of this solo exhibition is “Tribute to Childhood”. Do you still hold the clear picture of your childhood? What is your strongest feeling of it?

Just like every normal people, the older I became, the blurrier my memory of childhood will be. Few old photos and objects are the only trace I can ooccasionally grab. The childhood to me right now is both a feeling of unsatisfactory and a vain hope. I used to believe that there are still many things that I can start over again. Find some old friends and revisit some old haunts, go hike or swim… But it is nearly impossible. I can’t recover the old feelings from them anymore. We lost the bond in spirit, things have changed. To cherish the memory of childhood is even more a lost in spirit. I want to take this opportunity to honor the childhood, cause try to chase and recall its precious essence which meets the pursuit of this whole age.

2.How your memory and experience affect our work?

When I was young, I was short. So I always got ignored or bullied by other contemporaries. Gradually I developed an inferior and quiet character. Although I was a little bit solitary, but I don’t blame the world. Since my school record was not bad, and always won prizes, my parents thought high about me. I was spoiled, though our family was not rich, I could get nearly everything I want. I was happy in my heart. Now when I think back, I feel that a blank and innocent child can accept everything. The circumstance he grows in will eventually form his character and future and it applies me well. The plasticity of innocent children inspired me to use them as an enhanced symbol in my creation. Combined with the expression of reality, it forms a weird and paradoxical image which fascinates me a lot.

3. You are a member of both 80’s and drifting generation. How the environment affects your life and work? What do you think about your predecessors? Have you learnt any thing from them?

Perhaps due to the age, plus my marginalized occupation state, I hold a hopeless feeling of alienation toward the city I live. But I doubt that a bad thing, after all it won’t prevent me understanding the world more objectively through internet or other channels. As for the art, I am more concerned those intellectuals or artists who are welling to take the social responsibility, upholding freedom and human rights and not afraid to tell the truth. Such as Ai Weiwei, Han Han and Liang Wendao, from them, I feel the sincere attitude toward the world.

4. Your major is traditional Chinese painting in the Guangzhou Academy of Fine Arts. Why you choose oil painting as your main creative method?

Traditional Chinese painting was not my first choice. Because its admission score was much lower than the popular oil painting, I applied it as a guarantee. Otherwise oil painting is more convenient and much easier to learn, I learnt it all by myself during free time. I even rend a house out side the school, so I could paint more freely. In my third year, I already had a bunch of works. So I held a small solo exhibition in the school. I got lots of encouragements from my teachers and classmates, which strengthened my belief. I am always interested in new things, of course I won’t just stick to oil painting, I am also looking for the possibility of engraving, acrylic painting, sculpture and so on. Each different material has a lot of different knowledge worthy of study. From knowing its characteristic to making good use of it, this process is fascinating.

5. As an artist, how do you balance the complicated reality and the calm state your need for artistic creation?

I am also thinking about this lately. I was too perceptual toward this question before. I considered art only a small part of daily life, a spice which will naturally show up when in need, too simple, like a hobby. Then the problem arises. My casual attitude toward life affected its own quality, and directly made my creativity passive. There should be focus and goals in one’s life. I need to be more active and strategic, so can I realize higher pursuit of art, as my career and dream. The change from perceptual to rational benefits me a lot. I believe, to balance the relation between life and art is a basic quality of a mature artist, I am sill learning.

6. The artistic creation is about freedom. But there are so many constraints and rules in one’s life. Do you feel the contradiction between them? How do you handle it?

Sometimes it is pretty contradictory that you have to make the hard choice. You can’t attempt to pursue the ideal which uses art to guide one’s life but lose the meaning of life itself. Life and art can either complement or run counter to each other. When problem arises, I will follow my heart, relax myself and resolve it.

7. What is the inspiration of your creation?

Life. I believe no matter what kind of life you lead, as long as you feel it sincerely, there are always reason and opportunity for you to speak.

8. Anything ever confused you in your art career?

Most of my confusion comes from the practical life.

9. What is your opinion toward criticisms and doubts?

Criticisms and doubts are good. The history tells us they are the best medicine for social progress and self improvement. I am sincerely looking forward to hear more different voices in this exhibition which can help me to find my shortcomings in various angles.