Renowned Chinese artist Fang Lijun has been in the same studio for 30 years, moving into his Beijing studio in 1993. In the decades since, Fang has rocketed to a rare level of world fame, rising to fame for the first time in the 1990s as part of the Cynical Realism Movement in the 1990s. His now iconic paintings of bald men laughing and contorting their faces were pop-infused commentaries on a belief that associated baldness with stupidity and stupidity. iniquity, and other superstitions.
Although these striking paintings are most closely associated with the Fang, the artist’s practice is highly varied and continues to evolve. Earlier this summer, a selection of the artist’s ceramic sculptures, drawings and prints were shown at London’s Eskenazi Limitedin Fang’s first-ever UK solo presentation Now the artist is gearing up for a solo exhibition at Oxford’s Ashmolean Museum, which will open in October. These exhibitions required entire days in Fang’s workshop in Beijing as well as trips to a secondary ceramic workshop in the historic center of China. Jingdezhen area.
But even with a busy schedule, Fang still likes to let loose when he can, catch up with his friends in the evenings and, whenever possible, hit the open road – these trips which the artist considers another essential aspect of his convenient.
Recently, we spoke with Fang, who invited us to take a look around his studio.
Fang Lijun’s workshop. Courtesy of the artist.
Tell us about your studio. Where is it, how did you find it, what type of space is it, etc. ?
I mainly work in my studio in Songzhuang, Beijing, where I have been since 1993. Thousands of artists now live and work in this region. Of course, at the time, when I moved here, there were no artists here.
I also have a second studio in Jingdezhen focused on creating ceramic works. Jingdezhen has a long tradition of producing ceramics, with kiln fires burning continuously for more than a thousand years. And there are excellent services for ceramic production, including porcelain clay, glaze, tools, technicians, etc. It is a paradise for creations related to ceramics.
Do you have studio assistants or other team members working with you?
Yes, teamwork is essential in the creation of ceramics and prints.
Fan Lijun’s workshop. Courtesy of the artist.
How many hours do you typically spend in the studio, what time of day do you feel most productive, and what activities take up the majority of that time?
I like to work. That’s why I have my living space with the studio. So other than when I go out, I’m in the studio all day. I write and create ink paintings, oil paintings, printmaking, ceramics… each stage of work alternates according to a schedule. I find that switching from one type of work to another is the best rest.
Ceramic paintings by Fang Lijun. Courtesy of the artist.
What’s the first thing you do when you walk into your studio (after turning on the lights)?
Usually I drink tea and practice Chinese calligraphy.
What is the studio task on your calendar this week that you are most looking forward to?
At the moment I am working on setting up some details for my upcoming solo exhibition at the Ashmolean Museum in Oxford.
Fang Lijun’s workshop. Courtesy of the artist.
What tool or art supply do you most enjoy working with, and why? Please send us a picture of it.
I’m open to any kind of tools or art supplies. I don’t set limits on him. Among these are my cart of ink painting supplies, homemade brushes and an aadjustable electronic workbench.
Homemade brushes by the artist. Courtesy of the artist.
What atmosphere do you prefer when you work? Is there anything you like to listen to/watch/read/watch etc. in the studio to inspire you or as ambient culture?
I have two ways of working, one inside my studio and the other on the go. I love to go on road trips, do research, visit friends and eat gourmet food – it’s part of my practice. When I work, I mostly listen to history audiobooks. The artist discusses the common concerns of human beings in his unique artistic language. For me, the creator and the spectator are not opposed.
Fang Lijun’s workshop. Courtesy of the artist.
What do you think a work of art should do? How do you know when a work clicks? What feeling are you looking for?
When it comes to the creations of artists, society mainly demands that the works of art be beautiful and pleasing to the eye. This is what is normally expected of an artist. We would normally assume that the artist’s job is to serve the eye, to create something that brings visual pleasure. I believe that visual pleasure is of course very important, it is harmful if we always see disturbing things. In addition, artistic creation contains other needs, for example on humanity, on life and on psychological aspects.
First, pain is the most important vital sign – if you can’t feel pain, it’s hard to call it life. Second, pain is a reaction to love and care. None of us feel pain for something we don’t care about or have no connection to. In fact, creating art out of pain is love in its own right. Therefore, I think that in addition to serving visual enjoyment, art is more important to serve humanity and human emotions.
Fang Lijun Photography Collection Courtesy of the artist.
What images or objects do you look at while you work?
I love taking pictures while hanging out and drinking with my friends.
What is the most chic object in your studio? The most modest?
I only keep materials – my tools and art supplies – in my studio.
Fan Lijun’s tools. Courtesy of the artist.
How does your studio environment influence the way you work?
The layout of the studio is organized around my recent work and will only affect my work in partial and detailed aspects. Once there is a significant adjustment in the content of the work, the studio will make a corresponding adjustment.
Describe the space in three adjectives.
Convenient, practical and casual.
What do you like to do after finishing a day in the studio?
I’m going to find friends.
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