Soul Oxygen No.3 / CEN LONG’s View of Art
He is without doubt, the greatest artist of our era…
It was 1993, and I was touring the Aichi Prefectural Museum of Art, amongst a collection of dreary and banal works of Japanese masters and European contemporary artists, I discovered a gigantic panting; The painting, an unruly iron plate hauled in the air in the midst of the exhibit hall, had an impressive height of 2 feet and a width of 6 to 8 feet, and bore a natural rustiness to it. Painted with coarseness and roughness, a static train was on a railway terminal, waiting for the right signal for departure. The view was chaotic and murky, thick layers and solidified soil created an abstract texture; There were even marks rendered by natural cracks. The signal lights were shielded by the smoke coming from around the headlight, and shone only partially. The artist used simple colors like orange, brown, black and white. I lingered before the work, unable to leave; it left me agitated and delighted.
Soul Oxygen No.2 / CEN LONG’s View of Art
I was captivated by the amazing flare….
Art’s development, up to today, has become diversely styled, rich and majestic. It is hard for us to judge if the art is good or bad by representationalism or abstract expressionism. Styles, on which every appreciator has different perspectives and tastes, should not become the standard of being judged to be superior or inferior art works. The appropriate appraisers should be the majority of the appreciators, not those pretentious so called authoritative art critics. Every appreciator has their own appreciation standard deep form their hearts which makes them the genuine art connoisseurs. It is obviously alarming that quite a few contemporary critics suggested that Easel Painting has withered away, unaware that up to date, the number of appreciators attending various art exhibitions never decreased. The rules of art are definitely not dominated and judged by the minority of people.
Soul Oxygen No.1 / CEN LONG’s View of Art
Thoughts on Lucian Michael Freud….
The style of works of Lucian Michael Freud’s in his early years was deploying plane deformation with exaggerated modelling proportion, flat characters like dwarfs and with apathy expression; the description towards each detail was very conceptual and delicate. The painting language very close to rationality made the tension of the picture contract implicitly, while it looks seemingly calm it is actually full of disturbed ambivalence. However, his painting style changed totally in his middle age and became very realistic. The brushwork of rugged, smooth and jaunty as well as rich and strong colors shaped the real figure of each gesture frankly. He almost presented what he saw with his own eyes without reservation, and he seemed to believe his mind and spirit could only be satisfied through the approach of creation and by analyzing his inner feeling and thoughts to audiences; which is why he carried on painting until the last minute of his life.