Liu Jianwei, a native of Meizhou, Guangdong Province, 1995 graduated from the Fine Arts Department of Xinjiang Arts University with a bachelor's degree. 1995~ 1996, studying in the fourth studio of the Central Academy of Fine Arts. 1996 once worked in Xinjiang Arts Institute and has been teaching ever since. He used to be the deputy director of teaching and the director of the basic teaching and research section of the Fine Arts Department of Xinjiang Arts University.

Chinese name: Liu Jiankun

Nationality: China.

Occupation: teacher, artist

Graduate school: Xinjiang Art College of Central Academy of Fine Arts.

Representative works: Sunflower, Paradise II and Paradise III.

Ancestral home: Meizhou, Guangdong

brief introduction

1992

The oil painting "Sunflower" won the second prize of "Art Exhibition of the First Youth Culture and Art Festival in Xinjiang".

1994

The oil painting Portrait No.2 was selected for the 8th National Art Exhibition.

1998

Invited to participate in the "outdated" art exhibition.

In 2003

"Three Days" was selected for the 3rd China Oil Painting Exhibition.

The oil paintings Paradise II and Paradise III were selected for the first Xinjiang Oil Painting Exhibition.

In 2004

Invited to participate in Xinjiang "Twelve People" Art Exhibition

Drawing annotation

Many foggy mornings, she, a beautiful bird, stood on the earth wall in the east, singing beautiful songs, and the golden halo was projected on her. I was pleasantly surprised in my childhood and praised her with childish eyes. ...

Maybe this is the beginning of art.

Internship in the countryside, a car full of art pursuers marching on the scorching Gobi desert. The endless Gobi and bare mountains are silently printed in my mind, and nameless sadness surges in the depths of my memory.

Twisted and wrinkled mountains stand around, like clusters of human figures, and the cries of ancient soldiers wander around the empty mountain road. ...

In Qizil, I used a sketch book to record the dancing sky-the low-hanging clouds before the rain.

The study of painting has experienced classical material techniques and gradually evolved into the pursuit of expressing fanatical emotions. Impulse is more than reason at this stage. The belief in smearing is an instant "inspiration", a passionate persistence, and a dramatic conflict between carefree utopia life and real social situation. Later, I began to study meaningful abstract paintings (comprehensive materials). The number of colors is strictly controlled, which is basically a mixture of silver, white, black and other colors and smears, and sometimes there are some desired colors-red. There are some thoughts about social content in the works, which are not the main ones. What I am trying to achieve is a suitable arrangement picture-organizational structure. From it, I realized the fun of different materials, different textures and different accidental effects, which was close to the "naturalism" style I felt, a casual aesthetic feeling. Some people call it a "monologue" picture. I believe that only in this way can we approach "art".

Recently, I painted a batch of shadows with Tajik images, similar to Qizil murals with religious feelings. The picture is rough and casual in form, but the overall atmosphere is quiet. Some viewers call it "quasi-abstract" and "prismatic painting".

I firmly believe that I am a nihilistic idealist warrior-in front of the canvas.

The practice of painting is a process of constantly purifying the religious mind. I think when all kinds of utilitarianism and desires in people's hearts fade away, it is the bud of real "art"

I always think that those religious murals are calm, peaceful and pure, and the people who create them must be very pure! I remember when I was studying painting, I was also religious. But later it was found that many artists were numb-they didn't have enough courage to face this. The worldly dust blinded their eyes.

People should still pursue something, and what they want is truth, goodness and beauty. It doesn't belong to any desire, but it's a good idea to return to life. I think the ultimate destination of art is to let people return to a realm-ideal, and the things attached to it will naturally become beautiful with this "return".

There is a story in Buddhism, which tells that there is a Buddhist monk-Ananda, who answers himself when he is faced with desire, "If a person gets married, he can't live in peace and can't think about life and death". Then the creators engaged in artistic labor can also take this opportunity to meditate and sort out their artistic ideas when utilitarian desires invade.

"Art" is the perfect expression of the truth, goodness and beauty of human mind. My desire for the highest ideal is sincere, although ugly ideas often sneak up on me.

Now, I am still in the primary stage of learning painting. I need to memorize many words, create complete sentences, learn basic grammar, master the necessary skills, and write real prose on the basis of constantly enriching my thoughts and emotions. I don't want an opportunity, because she already exists. I hope I can listen to my inner voice and learn to deeply analyze the "strange" monologue.

This land raised me. My painting creation was also triggered by her. The "mixed living" life mode also reflects the "mixed living" painting mode.