Soft Memories of Objects
Wang Min’anWang Yuping likes to draw things at hand. These things are just being there, placed there as their habitual ways and own functions. They inevitably appeared in his field of vision. They are within the scope of Wang Yuping's daily activities and constitute his surroundings and atmosphere, or in other words, the extension and configuration of his body. Wang Yuping sees them every day, or should we say, he has no way but to see them every day. Even so, he’s still full of interests in these everyday visible things. He likes painting them. These everyday objects do not deliberately emerge from an extraordinary background. They have neither mysterious historical legends nor special radiance of materials. These daily usable or edible things exist in an ordinary way, sometimes only for a quite short period, without any intentions or desires of being immortal. Some of them, such as many cakes and pieces of bread and even a half-eaten breakfast, will soon disappear. These are the last moments of their fates. They are just hurriedly thrown into the world like passers-by. No one asks about their origins, and no one mourns their demise. They are within easy reach and not precious. They are so practical, so humble and so mediocre that people’s eyes rarely rest on them.王玉平《椅子》，42x29.7cm，木板丙烯，2019However, Wang Yuping found joy in these ordinary things. He didn’t push them to a distant opposite, nor did he treat them scientifically with the eyes of objective inspection. On the contrary, he regarded them as "pet" things. They are practical, but they are also something to play with. Once being treated with the attitude of "spoilt things", Wang Yuping would eradicate the functional use from these objects. Here, cakes and bread are not for eating, shoes are not for wearing, chairs are not for sitting, cups are not for drinking water, and books are not even for reading. Instead, they are all considered and appreciated as living stunners. For Wang Yuping, these things are having an ordinary surprise or ordinary emotions beyond their functions.The emotions atthings are exactly based on their ordinariness. It is precisely because of the ordinariness that these emotions do not stir. And also becauseof being ordinary, it is neither a grand and profound memorial nor a landscape with the nature of a museum. Wang Yuping did not give these things a glow in the form of fetishism.He didn’t sanctify them. These things are neither ancient nor sacred, nor strange. It is not something full of passion, not like Van Gogh or Expressionists, to expose the internal power of things, or to make them violent turbulence and shaking; On the contrary, these things are not exaggerated, radical, dazzling or irritable. Wang Yuping endows them with gentle and restrained feelings. Things are rippling in the emotions.王玉平《花帽子-1》，29.7x42cm，木板丙烯，2019王玉平《花帽子-3》，29.7x42cm，木板丙烯，2019How to make these things get an emotional ripple? Wang Yuping painted objects with light jumping colors. He hardly uses black and white, and rarely uses stable and thick colors. He tries to eliminate any sense of solemnity. His paintings on objects are rich in colors. These various colors are mixed with pink or red festivities, cheerfulness and lightness. These festive colors jump happily on the picture. These color jumps make things talk and make things have a sense of liveliness, a sense of joy, a sense of relaxation and a sense of lightness. This is a thing without a sense of tragedy, or even a thing without a bitter sense of destiny. Such things have no harsh mythology, only lovely mythology. At the same time, because of the diversity of colors, they look mottled and fluffy. There are a lot of gaps between colors, as if there is still space to fill, and they can breathe freely in these empty things. In this way, colors intersperse and jump with each other, and they produce an empty space. These spaces are neither compressed and filled by strong density, nor firmly covered by rigorous thick external colors. Therefore, these things appear very soft. It has all kinds of exports.王玉平《东洋画论-2 》，31x41cm，水彩，2014They not only have an internal softness, but also their external edges are blurred: the edges of objects are sometimes swallowed up by the painting background, or extend into the background and disappear naturally; Sometimes there is a vague ghosting or a scattered irregular thick line on the edge - Wang Yuping rarely draws clear outline lines and rarely uses these lines to tightly wrap things, so as to strictly distinguish things from the outside world. In other words, he doesn't let things have a hard outline, or a hard volume, or a hard texture. Things are neither strong nor strong. On the contrary, he makes things loose and soft, makes things elastic and tender, and makes things not only jump, but also breathe. Wang Yuping's objects seem to hide a heart. He doesn't draw hard objects made from metal. He likes to draw hats, cakes, cigarette butts, sofas, books and tablecloths. These things are soft and can be rubbed, pressed, manipulated and torn. In other words, they can not only withstand the smearing of brushes, but also the repeated touches from bodies and hands. He also painted some tables, chairs and porcelain objects, some plates and cups. These tables and chairs are covered by various colors of cloth, no hardness; The circulararc shapes of those cups and plates weaken their stiffness. Wang Yuping also painted these cups and plates with various colors, which can not only hide the hardness of the material, but also make the cups and plates soft and fluffy. Similarly, these tables, chairs, cups and plates also obtain their elasticity and can also have soft friction with bodies.王玉平《茶杯、浮世绘》，206x240cm，布面丙烯、油画棒，2018-2021In this way, Wang Yuping's things have unique qualities: he tries to draw the inner space of things, not the real space they try to occupy; He tries to draw the internal texture of things, not the external material of things; He tries to draw the inner softness of things, not the outer outline of things; He tries to draw the self-feeling of things, not the posture and deployment of things. In other words, he tries to draw the inner part of things, not the shell of things. He drew these things not to make them be remembered forever because of the external light and external legend, but to grasp their instantaneous state, that is, the unique instantaneous feeling of the moment when people's eyes stay on them. It was at this moment that things seemed to glow with a miracle. It is also at this moment that things are destined to disappear and destroy. But it is the feeling of it, the soft feeling of its heart, and this wonderful accidental moment that has become the eternity of Wang Yuping's canvas. Wang Yuping tries to make the instantaneity of these feelings eternal.This is a new attitude towards things. People used to distinguish things in various ways. In Chardan's paintings, people have seen the utensils in the kitchen: cans, knives, stoves, etc. These old things, like the space in which they are placed, seem to have passed through a long time and can be passed on all the time. Things are always intertwined with not only the space they are in, but also the fate of a family. However, on the contrary, in the 17th century still life paintings in the Netherlands, those cup and plate knives are brand-new, as if they had just been baked. They are crowded on the table, have a strong sense of showing off, and they shine brightly. Whether it is Chardonnay's objects or Dutch still life paintings, the time traces of objects are reflected through the old and new materials. Things must be measured in the passage of time.王玉平《烟蒂-1》，29.7x42cm，木板丙烯，2020Wang Yuping's things are not measured by the new and the old; It has no sense of time, or its instantaneity destroys its depth of time. The object itself is determined by a fluffy and breathable space. Similarly, he is different from Morandi's things. In Morandi, things have their own infinite world, things have their own universe, and things have the mystery of the whole world in silence. However, in Wang Yuping, there is neither a rough fate nor the mystery of the world. Things have only their own tenderness, only their own loveliness, and only the secularity of this place. The concreteness of things at this moment completely closes the way to the transcendental world. But such secular things are not Andy Warhol's goods. In Andy Warhol, things are standardized, and things are stacked, overlapped and copied in a large number. Andy Warhol has countless things, but there is no specific thing with personality. In Wang Yuping's place, although these goods are also commodities, produced in the form of commodities, and enter Wang Yuping's life world through commodity consumption, Wang Yuping has a strange ability to erase the standardized style of these commodities, and he eliminates their stiff industrialism when they leave the factory. He even painted the regional characteristics of things. It seems that these things came not from the factory, but from the marketplace. All these objects, including those cups and plates, have a strange handcraft style. Not only that, you caneven see the regionalism style of things here - if not the nationalist style. Wang Yuping's objects look like those of old Beijing, or they only belong to old Beijing. Even if they do come from now, from all over the world and from standardized industrial production. But these things are still incredibly marked with regionalism. Even those foreign language books, even those bread cakes with the least sense of place, seem to come from the same place, from the same cultural corner and from the same person. These things are painted with all kinds of colors by Wang Yuping. Does it also mean that they are painted with all kinds of memories by Wang Yuping? Smeared with Wang Yuping's youth experience and memory? In painting, we really have such a question: will a person really infect a thing with his background, his temperament, his hobbies, his experience and his memory? Or do things really have a "heart"?王玉平《虚岁60-3》，200x480cm，布面丙烯、油画棒，2019-2021
Salt Roasted Ginkgo - Wang Yuping
王玉平，1962 年生于北京，现任教于中央美术学院油画系第四工作室。1983 年考入中央工艺美术学院陶瓷系，1985 年考入中央美术学院油画系， 1989 年毕业于中央美院油画系。
Wang Yuping, born in Beijing in 1962, graduated from oil painting department, Central Academy of Fine Arts (CAFA) in 1989. Currently works in the No.4 Studio of the Oil Painting Department, School of Fine Art, CAFA.