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Lot Essay
"WHAT IS MOST IMPORTANT IS THE PRESENT…WHAT INTERESTS ME IS WHERE HISTORY AND THE PRESENT CROSS, THE RELATIONSHIP BETWEEN THE INDIVIDUAL AND SOCIETY. I HAVE NEVER PAINTED ABOUT CONTEMPORARY SOCIETY, HOWEVER, I EXPRESS WHAT LIES AT THE HEART OF MY CONTEMPORARIES. I AM INTERESTED IN SOCIETY'S CONTRADICTORY RELATIONSHIP WITH ITS PAST…ART IS NOT MADE TO PREDICT THE FUTURE: IT IS A MOMENT IN THE PROCESS OF LIFE. ART MUST TELL THE TRUTH ABOUT LIFE." -ZHANG XIAOGANG
Departing from the traditional definition of classical portraits, Zhang Xiaogang's Bloodline: The Big Family series is a riveting portrayal of the characteristics of socialism in China. These portraits reflect more than the experience and identity of individuals, as Zhang is not concerned about one person at a particular time and space, but rather spotlighting the nation and an era as a whole.
Bloodline Series No.20 (Lot 55) is presented in Zhang's signature photography-like portrait style. In black and white, it tells the story of China during a particular period. From children joining the army to celebrating a parent's birthday, from welcoming a new arrival to donning new clothes, going to a studio for a family photo shoot to capture a specific life moment is like a traditional ritual. However, a photography carries many stories unique to each family. In a sense, Zhang is capturing the social symbolism in China over a specific stretch of time by way of painting.
Simplicity sums up the essence of Bloodline Series No.20— simple facial demeanour against a simple background. Simplicity, the socio-economic backdrop of every family at that particular time in Chinese society, reflects the state of mind of the people. Bloodline Series No.20 mirrors the depiction of social reality through the language of a personal portrait. "What I want to paint is non-representational and un-individualistic portraits. I want to paint a kind of archetypal and symbolic people," said Zhang. The figure's face is calm, expression stiff, clothes humble, and the background unembellished. The artist seems to have no intention in delivering any desire in this visual imagery. Meanwhile, the suppressed emotions of the figure seem to be trapped inside the one-size-fits-all uniform. Only the eyes are dripping with desire—a thirst for life breaks through the pale sky, piercing the suffocating calmness. Zhang borrows from surrealism and presents a historiographic portrait of the times via his unique artistic expression.
Departing from the traditional definition of classical portraits, Zhang Xiaogang's Bloodline: The Big Family series is a riveting portrayal of the characteristics of socialism in China. These portraits reflect more than the experience and identity of individuals, as Zhang is not concerned about one person at a particular time and space, but rather spotlighting the nation and an era as a whole.
Bloodline Series No.20 (Lot 55) is presented in Zhang's signature photography-like portrait style. In black and white, it tells the story of China during a particular period. From children joining the army to celebrating a parent's birthday, from welcoming a new arrival to donning new clothes, going to a studio for a family photo shoot to capture a specific life moment is like a traditional ritual. However, a photography carries many stories unique to each family. In a sense, Zhang is capturing the social symbolism in China over a specific stretch of time by way of painting.
Simplicity sums up the essence of Bloodline Series No.20— simple facial demeanour against a simple background. Simplicity, the socio-economic backdrop of every family at that particular time in Chinese society, reflects the state of mind of the people. Bloodline Series No.20 mirrors the depiction of social reality through the language of a personal portrait. "What I want to paint is non-representational and un-individualistic portraits. I want to paint a kind of archetypal and symbolic people," said Zhang. The figure's face is calm, expression stiff, clothes humble, and the background unembellished. The artist seems to have no intention in delivering any desire in this visual imagery. Meanwhile, the suppressed emotions of the figure seem to be trapped inside the one-size-fits-all uniform. Only the eyes are dripping with desire—a thirst for life breaks through the pale sky, piercing the suffocating calmness. Zhang borrows from surrealism and presents a historiographic portrait of the times via his unique artistic expression.