他是我们的深渊 He is our abyss.

艺术家Artist:邓箭今Deng Jianjin
策 展Curator:樊 林 Fan Lin

开幕Opening:2013.11.9, Sat., 20:00

地址:广州市越秀区农林下路五号亿达大厦G层 (地铁一号线东山口站C出口)
Address:Fei Gallery, G Floor, Estate Plaza, No.5, Nong Lin Xia Road, Guangzhou, China (Metro Exit C of Dongshankou Station Line 1)

电话/Tel: 020-37688830

他是我们的深渊 He Is Our Abyss

Fan Lin

  Deng Jianjin has been consistently creating his own domain by his experimental creation in oil paintings, which is a world that one could hardly resist its attraction and get absorbed into it. Some critics interpret the bodies, postures and patterns in his works as metaphors of lust, violence and power. Actually most of the critics look at his works from a sociological perspective. As an artist who stepped into the art circle in the 1990’s, it’s doubtless that Deng Jianjin obtained interpretation and significance for his works from this angle.


  Based on my observation, Deng Jianjin has always maintained his independent narrative method and almost never used multiple methods at the same time in decades. In 2009 during his “Lust . Suppression” exhibition, he began the exploration of non-representational narration. On the surface it is still his style of “world in chaos”, but the realistic aspect and concrete factors were gradually weakened and removed. In his recent works, the portrait like faces and fine details as well as movements with definite directions have all been “regulated” as “archetypes” of male and female. Of course, those who are familiar with his works can recognize these characters without hesitation – they must be painted by Deng Jianjin.


  The men and women, with similar facial features and various expressions through eyes, exhibit their deeply hidden desires in the relationships and space of their selves, while making judgments or getting lost in the game of gain or loss and constant seeking. The fictional world becomes so vivid that we can hardly escape but find ourselves caught up in the non-incidental stimulus, incessantly connecting our own experiences with the irresistible visual power and the imminent profound implications.


  It is through his thorough and lucid narration, in a satirical, foppish and swanky way though, that Deng Jianjin reveals the insanity deeply rooted in men’s mind and soul, which are actually part of human nature. His work always seems to lack direct happiness; when it triggers sadness, fear, sympathy or infinite associations, those issues related to art – the lure of vanity, the barriers to self-knowledge, and the mystery of past and future lives – are all pointed out by him.


  At this time, what Camus said “To create is to live twice” came to my mind. When bitter reflections were stimulated by his works in us and we found no way out, don’t worry; since the whole world is but an absurd abyss, as Deng Jianjin calls it.