Zhu Chen wei's works are a kind of "everyday juggling". The colorful and joyful pictures hide sharp doubts and unease; what he attempts to reflect is the tiny crystallization of the crazy world, or the flash of human desire, the color blocks and The lines become nets that capture the afterimages one after another, playing bizarre characters and performing all kinds of paradoxical dramas.
As a creator, Zhu Chenwei created an extremely unusual circus, which suddenly appeared at the entrance of the alley and performed strangely colorful performances beside the asphalt road.
The creation in 2022 is mainly presented in acrylic, which is good at, using a large-area flat-coating technique to preserve the texture of the canvas itself in a small number of layers; and then adding the misaligned lines that overflow the composition itself. In the previous creations, I used the lines as "" Destroying the original structure of the picture” is used, but in this year’s creations, the lines are instead “adding colors to the fun”. Combining color blocks with brushstrokes and lines stacking, the visual effect simulates the atmosphere of pop art in the 1960s. .
Corresponding to the subject part, the corresponding interpretation of skeleton in English is "skeletal system"; and the term "white bone view" is derived from the Buddhist practice method, meaning "to regard the human body as the most fundamental white bone" , is a thought with "transcendence" and "essence". In the creation of the Skeleton Man series, I brought in the view of "white bones". After stripping the flesh, the skeleton became a specific painting language, and regarded it as a symbol, removing the carrier of the language of the flesh, and deliberately symbolizing the "death" of the skeleton. A playful question.
Therefore, when conceiving the picture, the skeleton and the consumption symbols in capitalism are juxtaposed; the beast with saturated and frizzy colors and the apple with an uneasy face are confronted with each other on the picture, so that the skeleton has an intertextuality with it, such an intertextuality. Sex provides a tug of wrestling and undercurrents. When integrated, it seems to be an unusual circus to the viewers, appearing suddenly at the entrance of the alley, and performing weird juggling beside the asphalt road.
As a "circus" performance, the work reflects only crazy tiny crystal fragments, or the flash of human desire; when I leave traces in the colorful noise with my brush, the work itself becomes one piece after another. The nets that capture the afterimages, animals and skeletons, play bizarre characters and perform the most paradoxical drama.
The circus continues to perform on the canvas. As for the undercurrent that hides behind the work when creating... I want to leave it blank here, leaving only the moment when the viewer looks at the work, everything may be so absurd.
Creation, I think a good work is to share my most real feelings, but I must admit that the thoughts in my mind are really jumpy, nonsensical, and without any logic. Most of the time, I am very excited about the collision in this state, because I can Get out of reason, see yourself different, and sometimes wonder why there is an inspiration, which is pretty cool. If you need a reason to do everything and work, it's too serious, and I don't like it.
In the series of works of art students, the content is brought into the past life experience, habits, hobbies, and the memory is repeatedly reorganized, and the relationship between the self and art is shown by integrating bits and pieces of life into the process of creating the theme.