Poetry of Planarity

The origin of 3D(three dimension) painting, which is in pursuit of reality, can date back from long ago. Looking at such painting is like looking through a window to see the image of reality. Such illusionary way of presenting realty has reached its peak in 19th century. Till the boom of Modern Art, the characteristics of painting itself, planarity, has been brought back, which topple down the space consciousness of the traditional painting. Meanwhile, a new consciousness has been risen, which is recognition of the fundamental elements of painting and expressing sensibility by reorganizing them in two dimensions. This planar form of presentation is stretched its arm from pure art to design area, and often exert influence on painting as well.

Xu Qi’s interest on print advertisement design and representation skills as a modern artist, which are harmonized naturally in her works, open a new way for her oil painting. Instead of shaping and representing the solid image, Xu Qi focuses on building relationship of these planar forms. Such consciousness can be found in her sketch from nature, in which the human figure and portrait do not play a principal role of the painting, but are as small part of it. Different respects of observation leads to diverse space consciousness. Here, the painter looks beyond the image of the object itself and ignores the depth of space. Instead, her sight move transversely between objects, and her mind travel among relationship of planar forms, and in the end, she integrates them into an orderly system.

Due to the sensitivity on planar elements, Xu Qi finds her material of painting from everywhere of the modern city, buildings beneath the sky, walls and street, stairs up and down, tables and chairs in restaurant, and so on. The logic of her painting is made up of these forms from life. However, her works are not completely disregarding of space, but represent it in a more superficial degree. In this way, the structure of her works is kept away from sheer forms, which leaves chances to communicate with audience, and thereby adds a few familiarity upon the strangeness.

It seems to be the second character beside of her optimism, that in this simple and peaceful room of her painting, a beam of light, a piece of shadow, thick and glum red color and large area of blank, are all showing her loneliness and depression. Been obsessed of mystery of religion, Xu Qi has painted a serial works of prayer flag, and the motionless “portrait” of prayer flags reflects the restless heart of painter’s. The favor of mystery also mixed in her cognition of life in the modern city. We can feel the emotion and a little poetry-like mood when looking at many paintings of hers, which develops another dimension in additional of the planar space of two dimensions, i.e. dimension of sensibility.

Seeking the form of art language is to find the linkage to the soul, and finally combining of the two. In Xu Qi’s opinion, “the representation of reality is not simply to reproduce, but express the lasting sensibility”, and by rebuilding the order of art, she hopes to prove that soul does really exist.

By Professor Qi Haiping

Deputy Dean of Plastic Arts and Faculty Director of Oil Painting

Tianjin Academy of Fine Arts

Dec 2009