Text/ Huang Wang-Fu
The golden maple tree in front of my childhood home, the long, calm streams, the distant mountains shrouded in morning mist, and the stunning landscapes of the southern region—these images are etched in my memory. Born in the South but having lived and worked in the North for eight years, I find myself constantly longing for the life back in the South.
Over time, this longing has evolved into a form of desire. Speaking of "desire," it’s deeply intertwined with human social life. Desire stems from our biological nature—a drive to achieve certain goals. Human desires are complex, encompassing survival, enjoyment, and growth. These needs form a multifaceted structure that shifts with changes in societal environments and historical conditions.
In my Fruit Series, I use an anthropomorphic approach to representation. These fruits appear irresistibly sweet and luscious, evolving either naturally or through human intervention to satisfy human desires and needs. I chose fruit as my subject to personify and materialize desire. For instance, one of my paintings features a green apple with a deliberate bite mark. Before painting, I prepare the base layer, and once finished, I use a carving knife to expose the base color at the bite mark. This technique adds rhythm and depth to the composition, turning the painting into exactly what I envisioned—a realization of desire.
Most of the fruits I paint have distinctive expressions, though not always. The decision depends on the composition and texture I aim to achieve. For example, when painting a watermelon, I might emphasize its ripeness by showing cracks that resemble a smile. I intentionally arrange the seeds in a way that forms a facial expression. These choices in composition and rhythm bring a sense of playfulness and liveliness to the work.
In my creative process, I focus on the essence of painting itself, tackling fundamental challenges of the medium. My style, if categorized simply, would fall under figurative painting. One common issue with figurative painting is how to handle the background—it’s often harder to paint than the main subject despite appearing simpler. Each subject demands a unique background. For example, in my recent banana paintings, I applied silver leaf to create a stark contrast with the fruit. However, this contrast presented a challenge: the textures felt disconnected. Traditionally, one might solve this by adding a shadow to ground the subject. After much thought, I decided to add a reflection instead. This immediately harmonized the relationship between the subject and the background, making the entire piece feel brighter and more cohesive.
The banana’s tip is painted in a bright pink, not only to enhance the composition but also as part of its anthropomorphic quality. Anthropomorphism doesn’t always have to involve expressions—it can be conveyed through color. The pink, for instance, reminds me of the flushed faces of cartoon characters when they’re angry or shy. This playful shade adds a hint of ambiguity and allure, making the banana simultaneously a cohesive whole and a restless individual.