Zhang Ye Xing was born in Shenyang in 1981 and graduated from the Central Fine Art Academy in 2004. His series of works use the motif of stage curtains as a main theme as people always have the desire of acting onstage. Therefore, by placing his own intimate thoughts in front of the stage, thoughts which cannot be revealed to others in real life or disclosed in public, he is researching how the human character exhibits itself in reality. There are two observable levels in Zhang Ye Xing's paintings - the psychological and the political - and both intertwine to present an insightful work of art by a young artist trying to make sense of the mind and the environment. In Zhang's works, we watch the performance of the artist, and although these are intimate moments we are never aware that it is only a performance.
Viewing 1 works by Zhang Yexing
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Mimesis - Figurative Art, 2009
Biography
Biography
Born in Shengyang in 1981, Zhang Ye Xing studied in the Central Fine Art Academy and has exhibited in China and Korea. This series of works uses the motif of stage curtains as a main theme because people always have the desire of acting onstage. Therefore, by placing his own intimate thoughts in front of the stage, thoughts which cannot be revealed to others in real life or disclosed in public, he is researching how the human character exhibits itself in reality.
There are two observable levels in Zhang Ye Xing's paintings - the psychological and the political - and both intertwine to present an insightful work of art by a young artist trying to make sense of the mind and the environment. The psychological aspect is not disassociated with the political aspects, in fact, these two spheres overlap and it is in this grey area that we find Zhang's 'Stage Curtain' series.
The stage is a place of performance, a space dedicated to the adoption of a different persona where one is able to be someone else without any stigmatism. However, in Zhang's stage, through red curtains, we witness the artist painting himself in the most basic of postures and shedding all pretenses. Freud's 'superego' and 'ego' disappears and only the 'id' remains. Thus, onstage, the artist is as he wants to be. He reveals to the public what should morally remain in the private sphere. Furthermore, the Red Curtains occupy an overwhelming space on the canvas making Zhang's works engaging on another artistic level. 'Red Curtain' refers to a theatricalised form of cinema where the audience is conscious that they are watching a film. They are not allowed to engage in the film as it is directed in such a way that the audience is alienated. In Zhang's works, we watch the performance of the artist, and although those are intimate moments we are never aware that it is only a performance.
It is hard to disassociate the Red Curtain from the politics of China and the communism of their past era. The 'Iron Curtain' was a term often used to signify the ideological and physical boundary that arose after the Second World War due to communism. It signified to the West the great differences of politics and also the ignorance of what happened behind that curtain. After the end of the revolution, it seems that the curtains remain, but assume different meanings. With the globalization of China, it seems she has had to put on performances for the rest of the world. What the country is, has become a façade for the world, and yet it cannot hide its true self. Perhaps then, the artist hints at the impossibility of prolonged pretense, whether in an individual or in a nation and performance is futile as the audience is aware of every action.
Artist Statement
"This series of works uses the motif of stage curtains as a main theme because people always have the desire of acting on a stage. Therefore, by placing some of my own intimate thoughts in front of the stage, thoughts that in real life cannot be revealed to others or disclosed in public, I'm researching how the human character exhibits itself in reality." - Zhang Ye Xing
There are two observable levels in Zhang Ye Xing's paintings - the psychological and the political - and both intertwine to present an insightful work of art by a young artist trying to make sense of the mind and the environment. The psychological aspect is not disassociated with the political aspects, in fact, these two spheres overlap and it is in this grey area that we find Zhang's 'Stage Curtain' series.
The stage is a place of performance, a space dedicated to the adoption of a different persona where one is able to be someone else without any stigmatism. However, in Zhang's stage, through red curtains, we witness the artist painting himself in the most basic of postures and shedding all pretenses. Freud's 'superego' and 'ego' disappears and only the 'id' remains. Thus, onstage, the artist is as he wants to be. He reveals to the public what should morally remain in the private sphere. Furthermore, the Red Curtains occupy an overwhelming space on the canvas making Zhang's works engaging on another artistic level. 'Red Curtain' refers to a theatricalised form of cinema where the audience is conscious that they are watching a film. They are not allowed to engage in the film as it is directed in such a way that the audience is alienated. In Zhang's works, we watch the performance of the artist, and although those are intimate moments we are never aware that it is only a performance.
It is hard to disassociate the Red Curtain from the politics of China and the communism of their past era. The 'Iron Curtain' was a term often used to signify the ideological and physical boundary that arose after the Second World War due to communism. It signified to the West the great differences of politics and also the ignorance of what happened behind that curtain. After the end of the revolution, it seems that the curtains remain, but assume different meanings. With the globalization of China, it seems she has had to put on performances for the rest of the world. What the country is, has become a façade for the world, and yet it cannot hide its true self. Perhaps then, the artist hints at the impossibility of prolonged pretense, whether in an individual or in a nation and performance is futile as the audience is aware of every action.
Artist Statement
"This series of works uses the motif of stage curtains as a main theme because people always have the desire of acting on a stage. Therefore, by placing some of my own intimate thoughts in front of the stage, thoughts that in real life cannot be revealed to others or disclosed in public, I'm researching how the human character exhibits itself in reality." - Zhang Ye Xing
Exhibitions
Exhibitions
Selected Solo Exhibitions
2013
"Time", platformchina, Beijing, China
2011
"Door & Lock, Works by Zhang Yexing", 01100001, Beijing, China
2009
"Theater", PYO Gallery, Beijing, China 2008
2013
"Time", platformchina, Beijing, China
2011
"Door & Lock, Works by Zhang Yexing", 01100001, Beijing, China
2009
"Theater", PYO Gallery, Beijing, China 2008
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