Feb 12, 2012 - Feb 24, 2012


Today Art Museum

He Sen Solo Exhibition
Today Art Museum


Since 2002, the artist’s attitude began to change. He Sen commented on those western artists he was quite familiar with in his early studies of art – commentaries that did not reveal intimate excitements, but rather, reluctant farewells. He began to sense with his past experiences rather than “looking” and studying with expectations. He’s familiarity with these artists allowed him to cite from his memories on characteristics of these western artists from various periods. Even prior to this time, He was differentiating on the effects and approaches of “image” painting – for a long of time, Gerhard Richter’s art has been a catalyst for China’s New Painting - gradually, He Sen turned around to a realm behind him. Perhaps it is random to have such feelings, or certain opportunity captured the artist’s attention that was behind him, He Sen was determined to uncover new sources of dialogue that was left behind by our forefathers. In fact, he was informed by his own inner needs that, the way in viewing and representing the world had to transform.

Monkey King on the Peach Tree
Rebellious Monkey King
Ma Yuan's Conversing with the Moon-Drinking Under the Moon
Ma Yuan's Conversing with the Moon-Dust
Ma Yuan's Conversing with the Moon-Distant
Ma Yuan's Conversing with the Moon-Firmament
The Romance of West Chamber-Wooing Phoenix
The Romance of West Chamber-Reunion
The Romance of West Chamber-Farewell at the Pavilion
Journey to the West-Divine Eagle
Journey to the West--Immortals at War
Journey to the West-Rebellious Little Bird

In today’s globalized network of information, the search of true individuality and uniqueness has again become the new goal for many artists - a goal that requires one’s concept to accord with sensual experiences, where the contemporary should be bridged with the historical.  In the last three decades of searching for new art since the 1980s to our present understanding on conceptualism, other than one’s own freedom of enlightenment, everything else can be rebutted. For He Sen, significant achievements have been made in his experiments in new oil painting who, successfully infused knowledge and experience into a new artistic era. In this era, language continues to be the artist’s focus, however, the quality and taste are becoming elements necessary in formulating new art history and the standard for contemporary art – if concepts are not accorded with quality, then it will not be worth mentioning.

Ma Yuan's Image of Cold and Poetic Quality
Luo Pin's Picture Albums of  Plum Blossom No.6
Li Shan's Bamboo Orchids and Aragonite (Detail)
Bada Shanren's Vase
Li Fangying's Bamboo
Ma Yuan's First Images of Water
Song Dynasty Landscape
Wu Zhen's Ink Bamboo
Zhu Sheng's Bamboo and Orchids
Zhu Sheng's Bamboo and Orchids
Chen Chun's Mixed Flower
Li Shan's Chrysanthemum Rockery
Li Shizhuo's Pine Rockery
Li Tang's Fishing in the Songhu Lake
Ma Yuan's Trail in the Spring
Tang Yin's Fan Painting
Tang Yin's Fan with Man Sitting on Tiger Skinned Chair
Xia Gui's Appreciating Falls
Xue Susu's Lake Rockery
Zhao Mengfu's Doble Pine Flat Distance
Ma Yuan's Layer Waves

The series of works in the nineties are basically a compilation of personal experience, an accumulation of culture, and a synthesis of many years of undefined urges. I endowed familiar people, friends and personal belongings with sacred meanings. The representational language that I made my own naturally became my spokesperson. In those images, the “close distance” in the unlimited expansion of personal sentiment matches up perfectly with the methods of the “new generation” of artists in Beijing – subsequently categorized as “Pop art” in the Post-89 exhibition.  However, in my opinion, the heroic impression and representational language is in contradiction with the attitudes of “Cynical realism”. But, apart from a release of personal emotions, these works lack broader social meanings. Thus, in 1993 the only adjustments I made were in my subject matter – for instance, marches presenting a social scene and a symbolic copper bird. -1992

Landscape in the Middle Triptych
Two Artists
Reader II
Reader I
The Bound Up Bird III

Everyone knows that what’s most contemporary is most direct, for instance popular films all make use of direct and shocking modes of expression. However, the more contemporary people become, the more complex is their psychology; this contrast will certainly become greater, and the inner complexity will become impossible to discard. As we put it into the form of art, we can express such complexity, but the directness will naturally be diminished. This is a contradiction.-1994

Couple Under the Red Flags

By re-organizing the compositional structure and basic language, I am hoping that painting will no longer remain a simple reaction to the outside world. In my basic language, it is necessary to sort out the more expressionist language from the danger of simply venting my enjoyment, and then setting this into a rational structure, getting rid of visual chaos, not adding meaning through the process of painting and the brushstrokes themselves, or else the origin of the concept would be squandered completely.- 1996

Accumulation without words
Two Bored Man
A Shade of Red
Girl and Flower I
Girl Lying on the Sofa
Girl Lying Sideways III

Women and the world in which we live seem rather similar in appearance, to put it in simple words, girls nowadays are prettier than before, and they seem to get even more beautiful. And the actual society we live in is also more beautiful, architecture and streets are also more beautiful. But our hearts and spirits are far less fulfilled than in the past, and the current beauty and progress is entirely illusion, in fact it is only an empty shell, an appearance covering a void; idealism is gradually diminishing in actual life, and this society is becoming very realistic and cool. - 2002

Smoke on the Office Chair
Smoke Gets into Your Eyes
Dudu with Make-up
Dudu's Toy
Smoking Woman with Wine
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