Feng Zhengjie

Works

No. 45 of 2005
Title: No. 45 from 2005
Technique: Screen print
Edition 22 of 68 pieces
Year: 2008
Size: 80 x 80 cm
Status: available
No. 02 from 2005
Title: No. 02 from 2005
Technique: Screen print
Edition 22 of 68 pieces
Year: 2008
Size: 77 x 108 cm
Status: available
No. 08 from 2007
Title: No. 08 from 2007
Technique: Screen print
Edition 22 of 68 pieces
Year: 2008
Size: 77 x 108 cm
Status: available
No. 07 from 2004
Title: No. 07 from 2004
Technique: Screen print
Edition 21 of 68 pieces
Year: 2008
Size: 80 x 80 cm
Status: available
No. 59 of 2005
Title: No. 59 from 2005
Technique: Screen print
Edition 22 of 68 pieces
Year: 2008
Size: 80 x 80 cm
Status: available
No. 28 of 2003
Title: No. 28 from 2003
Technique: Screen print
Edition 22 of 68 pieces
Year: 2008
Size: 55 x 108 cm
Status: available
Marilyn No. 1 of 2005
Title: Marilyn No. 1 from 2005
Technique: Screen print
Edition 22 of 68 pieces
Year: 2008
Size: 80 x 80cm
Status: not available

Vita

The women Feng Zhengjie paints are pop idols, glamorous faces of a futuristic pop world. Like all artists who have studied at China’s art academies, Feng Zhengjie has an excellent education in realism. But the artist rejected socialist realism and Western academic art and was influenced by the poster images he saw in rural China, where he grew up. As an artist. who began his work during the turbulent years in which the Chinese economy changed and opened up to the Weft, Feng Zhengjie made use of his approach to pop culture and its imagery and developed a way of painting in which he expresses his criticism of consumer culture.

The oversized enlarged faces of his wives are shown frontally. Idealized as young beauties, the eyes in their pretty faces show a strangely absent look, which gives your pictorial presence an enigmatic quality and betrays a material desire. This was interpreted as an expression of the gap between the inner life of an individual and the face as perceived by the environment. The eyes of his protagonists express a state of spiritual emptiness. By apparently saying goodbye to reality into an artificial world, women are undermining their beauty.

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