Unlike most young artists' artworks, Yang Xun's paintings are filled fill rational sadness. Faux mountains, pavilions, remnant walls ... his memories and imagination condenses, captured in darkness, and they seem to have been purposefully exposed to make up for the elegant and detailed imagery. The 'plot' the artists planned on purpose gradually becomes distinct as it's being projected. Yang Xun seems uninterested in entangling history or the past, but in creating a moment, a point where one can communicate with the soul. Our attention is captured in every detail. We try to discover details, yet the closer we approach them, the more confused and lost we feel. Yang Xun presented this "maze" candidly. Is it necessary for us to uncover it, to unveil the hanging drapery and see what's behind it?

——Zhu Tong

I would rather be an observer

Time: March, 2008

Venue: Mochou lake, Nanjing Participants: Zhu Tong (curator, abbreviated as Zhu below)

Yang Xun (artist, abbreviated as Yang below)

Zhu: You were born in Chongqing, grew up there, and are still living there. Have you ever thought about leaving?

Yang: I haven't for now. The artistic environment of the Sichuan Academy of Art is great, I will probably work in Beijing once in a while, although I have no intention of moving there.

Zhu: I have always been at the Sichuan Academy in Chongqing. Do you feel you have a dependence on the Sichuan Academy or Chongqing in general?

Yang: I feel more dependent on the Sichuan Academy. It has a great artistic community and environment, and many graduates rent studios around the area after their graduation. Many of them have the idea of continuing to grow in this area even when they were still students. Moreover, the city of Chongqing has its vitality, and its delicious cuisine and beautiful girls are famous nation wide.

Zhu: Chongqing has always been a city of "magic and fantasy", especially in Huangjueping where the Sichuan Academy of Art is located.

Yang: Huangjueping encapsulates Chinese society in general. Wealthy people can live here, and the have-nots can also survive. Graffiti street has invigorated Huangjueping with more excitement.

Zhu: Many outstanding artists have emerged from the Sichuan Academy of Art in the course of the development of Chinese contemporary art. For instance, He Duoling and Luo Zhongli from the Scar Art period, Ye Yongqing, Zhang Xiaogang since the '85 New Wave movement, as well as many more younger artists. Do these artists have an influence on you?

Yang: Certainly, artists of the "Sichuan tribe" have always followed the tradition of young artists growing with their predecessors. It is something that cannot be ignored, and it came into form naturally. They have been models of imitation in our school. Even though I haven't been in touch with them very often, their influence has always been at the spiritual level for me. Whereas external influence has not been prominent for me, it is the same for me to carry out my artistic practice anywhere.

Zhu: Artists born in the '80s have mostly focused their artistic subjects on "cartoons" and some humorous subjects, although we see large disparity in your work compared to works by the same generation of artists.

Yang: The so-called "cartoon' is only a superficial definition from certain critics and curators. Whether it's cartoon or not, the audience should make the final call. Since childhood, I have never been a fan of "cartoons", and my artistic practice tends to be individualistic. I like to search for an artistic form, and try to sustain it, and I am not swayed by popular cultural factors. I like trends and fashion, but I am not passionate about them, nor would I follow them.

Zhu: You seen rather independent. Do you have a sense of "solitude" when you communicate with other artists?

Yang: Indeed. Although I think such persistence is necessary, especially now, I am purposefully trying to avoid certain influence. An artist's practice, either in the present or for the future, should follow an overall concept. Giorgio Morandi, an artist I like, is very sensitive to current trends, although he has different views on different subjects. I believe I can find the equilibrium point between traditional cultural and popular culture.

Zhu: There are few young artists who know about Giorgio Morandi. There are many qualities of calmness and rich meanings.

Yang: Artistic practices should look into the long term for its values to be revealed. One should not be affected by external factors, but to stand by one's own artistic concept, and search for one's own artistic sense internally, and constantly express it.

Zhu: It is impossible to judge at the present whether popular forms of contemporary art will be tenable or not in the history of art, perhaps we would only provide a clearer evaluation in a few decades or even longer period of time. Even though artistic forms can be diversified in a given time period, however, currently there are many young artists producing similar works currently. I am not criticizing "cartoon art", only that more and more artists are developing into that direction. Perhaps this is a direct consequence of commercial impact. Yet, looking at your work, you seem to be always interested in traditional art.

Yang: Perhaps it's related to my creative method. I like to draw with the Chinese brush. Early on when I painted streams and stones, I felt it was the most appropriate material. Later on, it became my preference, and I depended on traditional art forms.

Zhu: Chinese brush is indispensable in traditional Chinese art. Especially during the Song dynasty, the use of the brush was explored to the fullest. Do you usually read books on traditional Chinese culture?

Yang: I have read some, but very few. I feel like an outsider in terms of understanding traditional culture. Our generation of the post-'80s has been heavily influenced by imported cultures. Our understanding of traditional culture is an accumulation since childhood. For instance, I have learnt how to paint Chinese paintings as a child, watched sitcoms on Journey to the West, Dream of the Red Mansion and etc. In fact, our understanding on traditional Chinese culture is rather superficial.

Zhu: Nevertheless, the realm of "harmony between men and nature" found in traditional literati paintings is fully expressed in your works.

Yang: What has been expressed in my works is nevertheless relevant to the environment at present. I prefer to work against the current, and would like to be purposefully distant to mainstream culture, which in contrast, subconsciously chose traditional culture.

Zhu: There are many renderings of gardens and landscapes among your earlier works, especially on the gardens of the south like Suzhou, does the origin of such imagery come from your own experience or are they your imagination?

Yang: I have visited many gardens, and my most fond memories are those gardens in Suzhou. It felt like I walked into a dream, a dream that I have always been searching for. The idea at the time was to escape from the current mainstream culture, and having been to the gardens in Suzhou seemed to have satisfied my inner need. Therefore, I adopted the theme of gardens into my creative practice.

Zhu: Compared to your earlier works, your recent works seem to depict more detailed scenes.

Yang: I am uncertain whether I have been affected by Wong Kar-wai's film In the Mood for Love, but I love his obscure and ambiguous images. In my recent works, the appearance of the luminous effect is to allow myself to take the perspective of the observer in searching for history. Because I still feel hazy on traditional subjects, and I need to borrow external assistance to examine it more lucidly.?

Zhu: The imagery in your previous work seems to be quite idealistic. However, in recent works, there seems to be a sense of sorrow, frustration and fear expressed.

Yang: This is a direct consequence of my state of being. I attempt to break away from "beauty" of the traditional sense, and the immediate impression of my works to others is initial shock followed by the beauty of imperfection.

Zhu: There are many elements of photography in your paintings. For instance, one perceives elements of photography and video art, yet why do you only choose painting as your approach of expression rather than something more candid and convenient?

Yang: Perhaps my dependence and nostalgia for painting is partially related to the education I received. Perhaps it is also somewhat relevant to the environment at the Sichuan Academy. I might also explore other artistic forms in the future, of course. As for exhibiting my works, I would create a fearsome setting, and use a space to convey my works.

Zhu: A fearsome setting?

Yang: Recently, I sense that artworks in general attempt to achieve superficial aesthetics, and there are few who express the things hurtful to their soul, whereas, I want to shatter these aesthetic ideals in my work. Of course, I have also drawn beautiful things like plum blossom, orchids, bamboos, chrysanthemum, and lotus flowers. Now I want to awaken people's memories of history by breaking these ideals. Soon I am going to insert figures to display my search on historical figures. I feel like I have taken on the role to look into history, an observer and examiner of history. I use the rays of my work to bring viewers before history, and reach a profound psychological understanding.

Zhu: Your work seems to be quite time-consuming.

Yang: Large paintings usually take two month to complete. Although it can be a consuming process, but the satisfaction upon completion is often gratifying. At the beginning I focused on my command of the overall imagery, although in the course of painting, I gradually shift this focus to depicting details.

Zhu: As art develops today, artists like Andy Warhol and Jeff Koons have often taken on the role of the director in their practices. Our usual expression with one particular artistic language can often be limiting, although we are not excluding certain artists' persistence on one single language. In this monotonous process, one often values their enjoyment.

Yang: Different artistic concepts need to be conveyed through different artistic approaches. Perhaps, you are not quite skilled in one medium, but you can always ask others to collaborate with you.

Zhu: There are many implications of history and tradition in your work, like your experience in the gardens of Suzhou that embarked your search for history.

Yang: I have been to the gardens in Suzhou three times, and I have always wanted to roam the gardens at night, to experience a dream-like realm. Formalistically speaking, my previous works are convergent, with a voyeuristic sense. And now the focus has been taken out, letting the audience walk into a space and leave them room for imagination. The concept of the circle is symbolic in traditional Chinese art. For instance, on fan paintings, the metaphor in mid-autumn festivals and etc.

Zhu: In your recent works, I began to notice imagery of the "ruin", vagueness in obscurity.

Yang: History is like what's behind the curtain - there are lies in truth. I like the feeling of viewing flowers in the mist.

Zhu: I feel you have been searching for something recent. As if you are in a secret tunnel, traveling between the past and reality.

Yang: Like life, no one can explain art clearly. There is not much to be done by artists, and art is often quite personal. I appreciate the enjoyment this work has brought me. Like a child playing with blocks, once it collapses, you start all over again. Starting from new again, in fact everything is as simple as this.