La Peinture Sillonnée
The daily scene that SUN Jinglin portrays with cold colors always endows with an unspeakable solemnity. The perception of the world and the vital experience are condensed in his works born at the crossroads of multiple materials and techniques: a solitary bird perches on the winter branches, the pale shadow of a distant mountain, the silhouette of a laborer in the spring field … washing, fishing, rafting – all these scenes a little folkloric, whose serenity and stripping evoke us the painting of Morandi, freeze in a remote silence.
SUN Jinglin, born in 1989 in Shandong and graduated in mural painting at the Central Academy of Fine Arts of China. The artist’s preference for wood dates back to his childhood spent in a collective supply and marketing community, where thousands of shelves and wooden storage have marked his spirit. These small wooden boxes, eliminated at the end of this particular period of Chinese history, later become the cornerstone of his artistic path that seeks to explore the conceptual complexity of “space”. The simple patterns that the artist makes cross, circulate, widen and finally scatter weave a tight and meticulous texture for his image: a fragmentation of everyday life, a subtle analysis of a human gesture, a realistic landscape derealized by abstract motifs juxtaposed … the confrontation of heterogeneous elements infuses small obscurities with its apparently limpid canvas.
The narrative space is thus chiseled by the artist in a way that he calls “dispersive”: that observation and emotion become sharp and acute during a creative rehearsal. The artist practices from day to day a decomposition and a reconstruction of the visual symbols in order to reach a highly synthetic simplicity. SUN Jinglin considers his work as a chess game where each element – colors, materials, even presentation – intertwines and stands in an ambiguity and a bewitching uncertainty. This fine and clever creation corresponds to the artist’s temperament as well as to his studies of mural painting. SUN Jinglin is pleased to apply “Lifen” – a colorful mineral powder used in oriental wall painting for centuries to decorate Buddha jewelry – to his own contemporary creation, discovering in the superposition and crossing lines painted by “Lifen “Spaces and forms unheard of. It is a carefully furrowed visual field that the artist hides behind her sparse image, a road pioneered through thousands of trials and trial-and-error, leading to a still unknown destination.
Silently flowed into infinity, the silent waves that the artist composes with faceless figures and lonely landscapes take us away. Let the men go back to the land and the river again. All these “eternities in a single day” bring the loneliness of the individual closer to that of nature, the memory of history. Thus unfolds before us what reminds us of the vital aesthetic of Bergson where the true experience that we make of each moment of life will become an “inseparable duration”, a duration that we will name Time.