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My focus is the message conveyed in the artwork instead of the form of the piece, whether it is an oil painting, a traditional photograph or digital photograph. What matters to me the most is the thought in it. Or shall I say, the emotions, which are intertwined with my life experience. As for the composition, color scheme, or techniques, they are only the natural flow of such emotions.—Zhang You-Liang |
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Zhang You-Liang is a Beijing-based artist.
Zhang You-Liang, Landscape of the City, 2008. Printing paper, 100 x 100 cm. Courtesy of the artist.My focus is the message conveyed in the artwork instead of the form of the piece, whether it is an oil painting, a traditional photograph or digital photograph. What matters to me the most is the thought in it. Or shall I say, the emotions, which are intertwined with my life experience. As for the composition, color scheme, or techniques, they are only the natural flow of such emotions.—Zhang You-Liang
Shi Yu-Ling: Could you tell us a little about your series, Landscape of the City?
Zhang You-Liang: They came out at the end of 2007. In the academy (Central Academy of Fine Arts) there are lots of traditional Chinese paintings hung by the corridors. It occurred to me that it would be a great idea to reinvent the classic theme of mountains and waters (in traditional Chinese paintings,) to combine it with metropolitan landscapes, to enable viewers to travel through mountains and water on a modern scale. That was my inspiration.
Shi: Why did you choose to turn the city upside down?
Zhang: It is a visual displacement that I created. I used to have mixed feelings toward city life. I had a desire to embrace it as well as an urge to escape from it. For young people like me, the city is a vibrant source of energy and temptation, but the harsh part of it leaves us feeling helpless. By turning it upside down we can see the city from a different perspective. Those interesting, hidden things will appear because of [imaginary] gravity. Turning the city upside town is a visual means I exploited to reveal the unseen facets of the city.
Shi: Nowadays many artists’ works draw inspiration from traditions. What are your thoughts on the inheritance of tradition in art?
Zhang: Our cultural tradition runs in our blood. It deeply influences our minds, our way of thinking. As far as inheritance is concerned, I believe it is a natural and spontaneous process that we don’t have to make a point of doing. On the other hand, I believe the inheritance or development of cultural tradition should not be limited to the reproduction of superficial patterns, but rather it should be faithful to the spirit of the artist. Since our works are made in the modern age, they should reflect our time instead of robotically reproducing traditions, but artists should still bear in mind the traditional spirit.
Shi: As someone who was born in the 80s, what do you think about cities?
Zhang: My generation grew up in a very unique time, during which the country underwent over 20 years of reform, and as a result, the public mentality has also been dramatically transformed. We are under heavy influence from the Western, Japanese, and Korean cultures, and are under tremendous pressure from the outside world. Many people from my generation feel depressed, overwhelmed, and sometimes helpless when facing society and their future. Overall, I regard the city as both a source of temptation and a source of pressure.
Shi: What are your future expectations?
Zhang: I expect a lot more works to come. It is difficult to come to grips with the future of our time. All we can do is to make the best of what we have now, to work and live with faith and diligence. One thing I am pretty sure of is that the future will embrace innovation and creativity and that challenges awaits us.
