In the series : “Chinese Nudes”, LiFang devoted herself to the transformation of the challenging antics of her compatriot and henchman artist, Ai Weiwei.
Independently of the artistic characteristics of his work, it’s not unusual to see in Ai Weiwei’s
original nudephotographs, an intense desire to provoke and seek the attention of the chinese central cuthority, as would a defying student.
Could he have seen “Zero for Conduct” by Jean Vigo? Probably not. He still continues to take creative risks on this earth...We know the story.
On the other hand, LiFang has seen Cezanne and all the others, observed them from a far
distance. Nothing could have stopped her from coming to Paris and study closely the artists who influenced her when she lived there.
Does it make it a wise decision?
With her “Chinese Nudes”, LiFang considerably changes the game. Such as an Erik Satie’s “Gnossienne” facilitating a reconciliation between Cezanne and Picasso, LiFang comes to term with the Photographic work, created in phases, like a meticulously crafted passage of an Orchestra (In this case, the work of Ai Weiwei) through her painting.
She transcends a real fact; the painting transcribes real life, to immortalise it through a few strokes of a paint brush. Because the artist is not dutiful, she chose to tackle a meaningful piece: Ai Weiwei and his supporters! To make Cezanne like exposed bodies, the politically incorrect self-portraits, in a way, it’s like taking a step back to measure the difference between the discordance of the situations and the necessary befall within the real.
A reality politicized and loaded with consequences.
It’s allowing oneself to forget the humorous dimension of a mascarade where each play their little part, be able with counter-power, paint with distant and sincerity a page out of the contemporary.
Imagine yourself stuck in the non-existing part of the individual thought and what happens to all those individuals that feed a blog of their own nudity in support of one single man...who is not their leader, simply a free spirit...Impossible from this point of view! Maybe the Western World should react to what is happening on the other side of the globe.
LiFang, through the transparency of a Cezanne’s Neo-Techno, We are pushed to reconnect
our center, to see what still makes painting resists now and always: the necessity to showcase a raw reality, so far from our so called humanism.
Artists honor each other out of courtesy or delusion, but here, it’s about the taste for the sociolo- gic regard of art and the interpretation of the livable history.
Christophe Wlaeminck, Paris.
Translated by Edith Gonsalves, Boston - MA, USA.