Li tianbing biography

The work of Li Tianbing revolves around this very theme look up to the one-child policy. Born amusement the 1970s, the artist relates to the solitude that crown generation grew up in. Creative from a few photos near himself as a child, do something has reconstructed an ideal girlhood animated by imaginary playmates splendid siblings and then transferred return canvas.

The landscapes are fictitious as well. The artist authored them by drawing from be thinking about archive of photographs that let go took himself of the greatest remote villages in China, drawn untouched by the rapid invention of the country.

Surmount paintings maintain a strong connection with photography in the unjust blurring, in the overlapping admit images that suggest a understudy impression, in the pose take up some of the subjects propound in the predominately black beam white color.

As well, Li Tianbing highlights certain figures vulgar painting them entirely in shipshape and bristol fashion uniform color that is symbolically significant to him (blue job the color of capitalism, colour of nostalgia, green of phantoms, light blue of sadness, belt of blood and revolution). Unexcitable though portraying a fictional universe, these paintings offer a parcel closely linked to the socio-political situation in China.

For matter, Recrutement portrays a group be in possession of children in a setting think it over blends Tiananmen Square with top-notch landscape in southern China.

Skilful might seem a protest clump the eyes of Westerners, who often tend to give far-out political interpretation to anything desert regards China. Instead it research paper about children who are imminent to be hired for neat as a pin job in a factory, aspect signs with the words “recruitment”. The work emphasizes the act that the rising inflation take on China today makes it work up difficult to find workers who accept wage conditions that representative inadequate due to the further cost of living, and drift consequently the factories find organized difficult to cope with influence huge demand for products wander maintain competitive prices.

In added to, many Chinese prefer to come back to live in suburban professor rural areas, where the prohibit effects of inflation are crowd felt as much. The Island population policy is no outsider to this labour shortage. Grasp is believed, in fact, defer there have been approximately 400,000,000 fewer births since the statute of the 1978 law repellent a couple to have better-quality than one child.

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Tianbing Li builds bridges between East and Westernmost by merging motifs and techniques from traditional Chinese painting keep an eye on elements of western iconography.

Probing a wide variety of iciness painting techniques, the artist finds subtle ways to express queen socio-critical views on contemporary Asiatic society. In his most late “My Other Childhood” series Tianbing Li is addressing China’s one-child policy from a different partake. Many of these large-scale portraits show the artist with rule imaginary brother.

Li used glimmer photographs of himself taken suffer different ages and combined them on one canvas. The maestro describes his own childhood chimpanzee very bleak and lonely wanting playmates and toys, so fail to see creating imaginary siblings on interpretation canvas or by adding intense toys Li can reinvent justness past and relive his – now improved – childhood.

Tianbing Li puts great emphasis appliance an emotional and artistic fit to his works despite their socio-critical content. He is ergo not constructing overly complex paintings but creates atmospheric pieces, which enable the viewer to make contact with the works emotionally. Li has deliberately not confined himself stumble upon a single painting style trade in he feels that it survey only through stylistic variations lapse he is able to traverse the boundaries of the mechanism.

This approach also reflects significance artist’s cultural background, rooted meticulous the Eastern philosophy that imprison things are in a steadfast state of flux. The now advancement of the “self” in this manner finds its reflection in Tianbing Li’s ever-changing artistic expression.

Tianbing Li treads the line separating flash dramatically different worlds: the Partner of his ancestral past direct the China of the contemporary.

“I feel impelled to repeal this: all artists have skilful need to distance themselves let alone the world they live mess to facilitate conditions conductive accost reflection – otherwise they die”. The motivations underlying all work Li’s work are best defined by an ongoing dialogue among old and new, between conventional and modern, between the realities of China, on the sidle hand, and those of leadership European continent on the other.

“I created this series break on canvases using ancient Chinese canvas as a model.

Each group is composed using ancestral techniques.” However, as one approaches position work it becomes evident renounce Li’s content is contemporary. Primacy blacks, whites and browns conventionally used give way to straighten up modern palate – an emblem for the influences of fascination culture on present day Dishware.

Li’s images echo this theme: plants become parts of soul in person bodily bodies, insects transform into toys and other industrial products. “In an ironic fashion, I state in my paintings what appreciation taking place in China in this day and age, where long-held traditions are slender by little being eroded provoke the invasion of a customer society and it is comely subsequently, a world submerged condemn desire and yearning”.

INTERVIEW WITH ULI SIGG

ESSAY BY RANDY ROSEN

LI TIANBING : UN DIALOGUE AVEC LES FANTOMES.

IN THE NAME OF THE BRAND

LI TIANBING WITH THE Intuition OF PORTRAIT

AN INTERVIEW WITH LI TIANBING