-Read Li Muzi's paintings.
Professor Peng Feng-Head of the Art Department of Peking University Art Institute
..... Li Muzi's abstract paintings all come from his sketches.
The reason why I take the trouble to sketch is not to be realistic, but to write my feelings. The purpose of going out to sketch is to find your own feelings about things. He painted in an abstract way to express his true feelings more fully. In this sense, it can be said that Li Muzi's abstract painting is also "realistic", but it does not depict the shape of reality, but captures the feelings of reality.
In this way, Li Muzi expanded his sky between realism and abstraction. Different from realistic painting, it is difficult for us to distinguish the shapes of things in Li Muzi's paintings. However, it is different from the freedom of abstract painting. Li Muzi's paintings look subjective on the surface, but in fact they are objective, which is limited by many objective factors, especially his own conclusive feelings. Behind the surface freedom is meticulous control. Unlike many self-deceiving paintings, Li Muzi's paintings convey his true feelings to us. Li Muzi can't create many works in the studio, because he must respect his feelings and be worthy of his art and audience.
Writing God in Form, Refining the Soul of Landscape
-Comment on Li Muzi's painting creation.
● Endless road
-Li Muzi's artistic vision.
Hao is a lecturer in the Art History Department of Tianjin Academy of Fine Arts, and Dr. Tsinghua University is a postdoctoral fellow at the Institute of World Religions of China Academy of Social Sciences.
Li Muzi's paintings, with nature as the image and heaven and earth as the boundary, seem to depict an infinite world, but this world created in art is born of reality.
Li Muzi, who graduated from the Oil Painting Department of the Central Academy of Fine Arts, can easily reproduce the natural appearance on the screen, but if the soul is tortured, such reproduction is meaningless. Li Muzi stubbornly insisted that he was sketching, and all the scenery he painted, no matter how beyond, was obtained from sketching, not wishful thinking. Sketch, to write a natural business, natural scenery is real, can not be ignored, can not be indulged. "Sketch" is actually to rebuild the relationship between man and nature. Therefore, Li Muzi's works can suddenly appear a natural avenue different from the visible reality.
Art has such a possibility of transcendence and creativity. We can start from the independence of the spiritual field, say no to the visible reality, penetrate the fog, find the root of nature, and make the invisible visible. In this realistic and utilitarian era, there are not many young artists with such far-reaching vision. Just like this, Li Muzi's view of nature changed the structure and form of nature, and formed a second nature that transcended reality and originated from reality.
Yang Zhen-Doctor of Aesthetics, visiting professor of Central Academy of Fine Arts, scholar of Institute of Contemporary Art of China Academy of Social Sciences.
At first glance, people can easily think of gerhard richter's works, and even associate them with Wu Guanzhong and Zhao Wuji. People tend to classify it as "abstract expressionism".
However, if carefully observed and compared, people will find that Mu Zi's paintings are not "abstract" but "realistic and reappearing".
His recent works are all the products of sketching in Phoenix, Lijiang and Shangri-La. Perhaps, it is hard for people to imagine how much those lines and colors with indistinguishable shapes have to do with "sketching". But in fact, this is a deeper writing of "life", using the artist's body and mind to feel, talk, think, extract the soul in the landscape, and then realize it on his own screen.
When people ask, "Why do you paint like this?" Mu Zi always replied naturally, "This is what I saw." .
..... If the "Phoenix" series is still plagued by visual materials and cannot completely get rid of the limitation of time and space, then Mu Zi's "Lijiang" series has completed this transformation, showing a clean, resolute and magnificent performance. The Temple of Heaven is a masterpiece of this period. This is no longer copying, but refining. What makes sense is the overall "relationship" between things. The pure colors and lines we see in this painting are still strict "realism", which is to write the vitality and movement of nature itself on a static plane. Village, Hidden and Peak are also representative works of this period.
..... Mu Zi's recent works (summer 20 14) show that artists are becoming more and more mature on this road. Tian Wen and Unknown Love are the highlands of this stage, and convergence, contradiction, harmony and confrontation are also outstanding representatives of this stage. They are pure, intense and enjoyable, which can make people feel different at different times, in different light and from different angles.
This is the characteristic of Mu Zi's painting.
He is not purely abstract, he is not immersed in the subjective world. He is realistic, and realism is hidden under the abstract appearance. Or, let's change the word: "realism".
..... Mu Zi has solid basic skills and mature realistic skills. From his 20 12 Natalia series and self-portrait series, Carmen and Alley can see it.
Interestingly, Mu Zi's figure paintings are all concrete, but his landscape paintings tend to be abstract. This can be said to be his invention. This is no accident. The human soul is active, it invites artists to enter, but the scenery is different, and its charm depends on the viewer's long-term experience and exploration.
This is why Mu Zi's figure painting is concrete, while landscape painting is abstract. That's not called "abstraction", but accurately grasping the dynamic charm of the landscape on static cloth.
● Comments by Dr. Lasker Radovic, a Western classical scholar and collector, and Dr. Ruan Shizhen from the Royal College of Psychiatry:
I have been paying attention to Mu Zi's works, and I am surprised by the diverse talents of this young artist. Mu Zi is not only an excellent figurative artist, but also shows extraordinary talents in many fields. His portraits capture the deep feelings of the characters and often show elusive traces of sadness on the models. His self-portrait reveals his psychological secrets in particular.
In addition, Mu Zi pays equal attention to concreteness and abstraction when he expresses the scenery in China, and interprets the soul of the scenery with the boldest colors.
In Mu Zi's latest series of abstract landscape paintings, his solid academic foundation is outstanding. These surreal landscapes are displayed in a simple way, with gorgeous and ingenious brushstrokes. Color is summarized as the most primitive color and form of an object. However, Mu Zi did make this work finally present a strange dream.