Ren Zhen Yu

Biography

 Ren Zhenyu 
Born in 1976, Tianjin, China
Graduated from oil painting Department, Tianjin Academy of Fine Art

Major Exhibitions:

2007 Solo Exhibition ,Singapore
2007 Solo Exhibition ,HongKong
2007 < Ju Shata –2007 New Elite Award>, Beijing
2007 Amsterdam International Gallery Exposition, Holland
2007 China International Gallery Exposition.Beijing
2007 Solo Exhibition, , Beijing
2006 Exchanging Group Exhibition ,China,Japan,france
2005 Solo Exhibition, “In The Name of Face”, Beijing
2005 Guangzhou Modern Art Fair, Guangzhou 
2004 Group Exhibition, 3rd National Oil Painting Exhibition, Beijing 
2002 Group Exhibition, “New Changes”- Young artist nomination, Tianjin 
1999 Group Exhibition, 9th National Fine Arts Exhibition 
1998Awarding of 7th Luo Zhongli Oil Painting Schlorship,Taiwan Culture and Education Foundation 

The Memorial Light And Image Brightness
Mao’s Face By Ren Zhenyu
Xia Kejun

It’s unquestionable that the representation of Mao’s image in China’s contemporary art is a splendid but complex phenomena. Contemporary Chinese art can be said to be revolved around the person of Mao. The strength of a single image is affirmed by memories of the past - the ambiguity, though, lies in the question of whether the repeating of Mao’s image is an attempt at healing those memories, or a recollection by means of Saint art?

As Ben Yaming said, in times of technical reproduction, there still remains brilliant artistic expressions of head portraits and face images in the last century. Lu Xun and Mao Zedong’s images seem to have the power of stateliness and permanence. The responsibility to the face and more importantly, the responsibility to the memories is now the obligation of the artist. Mao’s head portraits take the salient role of embodying that which is necessary for us to face the modern impact. Our nation’s thinking and spirit never breaks away from the wizardry of his image - the image that not only can face the calamity of the past, but also the changes of the future. The artistic creation of Mao’s images fill the void of spiritual desolation of our times where we still need a former deity; a instrument to resist the panic and uneasiness of the present. Whether to laugh or to respect, it is a remedy for the emptiness of our heart, for a while.

Mao’s face created by Ren Zhenyu manifests Mao in his brilliance. In his last decades, he was a source of inspiration, of countless songs and posters whichdepicted him as a symbol of brightness, a symbol which remains in our times for many. Ren Zhenyu subtly controls the interaction between brightness and colour to present the diversity of Mao’s look. This diversity creates questions of whether Ren intends to depict Mao is his real image of The Chairman Mao of the past or to create a new representation with abstract expressionism - to rebuild the past as a means of a salvation. We are left to wonder if the artist wants us to believe that his splendid and young Mao should be preserved in our memory.

These multi-coloured and variegated Mao faces by Ren Zhenyu were created with years of art observation. The technique is completely different from many artists who have previously painted Mao images. In the ‘Soft Tissue’ series of 2002, the artist had already subtly hidden the face with abstract color-block with the eyes, lips and facial features revealed in tones of black, white and gray which were meant to imply that the faces were concealed in memory. The artist wanted his work to be loose and soft, and as a result the vague face appeared in new forms. In his works, Ren Zhenyu uses his tones to manifest the erodent power of time. His recent Mao’s face has a sharp-cut style: apparently those “Soft Tissue” became tough, the previous subtle face break through the historical fence, springing out to be real. Is this a compellent reminiscence or the seductive brightness? Art becomes not only a secret position of time and history, but also the reflection of the artist’s interests and feelings.

In his recent works, Mao’s faces are depicted as the still well-known standard images in his various ages. The rich and bright colour blocks establishes the lively looks, as if the image never dies and lives with us, like a ghost looking at us with arrogant expression. Perhaps it is the reverence from young artist? The face which is painted with abstract color block seems never to be senescent as though life needs its illusion; where the leader needs his ideal image to be kept. Almost suggesting that we can’t escape from this transit times. He presents the unique Mao’s face without political bop. It’s not ironical or prankish, but the remembrance of a politician’s destiny with image meaning and eidolon.

The artist brings his interpretation of time, which is the sign of spirit. In fact, sometimes the artist put latticework on the ground, to finalize the passing image. Sometimes, two Mao’s faces appears in a painting with gun fire, obviously he clears up the fears through a playful heart. Accordingly it shows that artist brings personal sentiment in paintings.

Any Mao’s face would meet rejection or with reverence, but importantly it creates an impact - we have to face the magical image. Ren Zhenyu’s works present the conflict of remembrance. His works will stand at the striking position the records of images, and also provide the spiritual sign to our eventual art history.