EDWARD.HONGYI.JIA

THE DAY AFTER TOMORROW

I would like to depict grand historical themes. Through the history of the past and the things that are happening in the present today, the use of sci-fi elements as a medium is combined with personal associations to try to create a contradiction that combines the past, the present and the future. It is created by combining Eastern aesthetics with Western concepts. He produced metaphysical personal painting creation with personal artistic language.

I like to use narrative techniques to describe large machinery, spaceships, Soviet-style abandoned industrial cities with futuristic forms, and large-scale war weapons. Perhaps only the freaks created by the continuous development of science and technology during the development of the civilization created by this species of human beings. The grand historical background also symbolically reflects that on the path of human history, personal will cannot compete with political ideology. Fear, anger, grief and indignation are like the energy surging deep underground. Although there is no sense of power and violence directly expressed by the huge machinery, it also has an invisible power.

APOCALYPSE

I would like to depict grand historical themes. Through the history of the past and the things that are happening in the present today, the use of sci-fi elements as a medium is combined with personal associations to try to create a contradiction that combines the past, the present and the future. It is created by combining Eastern aesthetics with Western concepts. He produced metaphysical personal painting creation with personal artistic language.

I like to use narrative techniques to describe large machinery, spaceships, Soviet-style abandoned industrial cities with futuristic forms, and large-scale war weapons. Perhaps only the freaks created by the continuous development of science and technology during the development of the civilization created by this species of human beings. The grand historical background also symbolically reflects that on the path of human history, personal will cannot compete with political ideology. Fear, anger, grief and indignation are like the energy surging deep underground. Although there is no sense of power and violence directly expressed by the huge machinery, it also has an invisible power.

AT LONG AS LAST LOVE

                                   Fish of Story

This project is based on the experience of tropical fish farming that I have spent for 14 years. I am eager to extend the meaning of the influence of spiritual support on individuals. These tropical fish that have been with me for many years are not only pets for me, but more of a spiritual sustenance that gives me strength in dim time. So, in the works, I tried to combine the linear expression of Chinese traditional painting techniques with the mechanical form, hoping to convey surrealism with oriental characteristics through the works. I hope that these "fishes" accompanying me can form an eternal form like machinery. So I gave the fish a semi- mechanized half-life form and let them live in a space full of hope and light. I want to pass this project to the public. In today's fast-growing technology and economy, people's "spiritual sustenance" is also an important part of building a non-material level of society.

REALITY AND DREAMILY

The project is based on the Soviet science fiction roadside picnic "Roadside Picnic", which aims to reflect human being's desire and double side of humanity. This is the state I observed in my paintings on the streets of London. The bustling crowds coming and going, the old and new buildings, are separated from each other but exist in one scene at the same time. In the picture, I rely on the real scenes of the streets of London in my sci-fi fantasy, and put them together in the same timeand space background, hoping to compare the state of social class. This project was created by the oil painting medium.

CARVING STARS

This project uses the narrative construction of the novel Frankenstein to carry out the revolution against the mechanized training method of Chinese art education through surrealistic associations. This is a spontaneous painting project based on my own experience. In the art education after the founding of the People's Republic of China, the painting style of the Soviet period was consistently used, and the training of Linyi and anatomical human body structure was the main one. At the same time, in the studio system that implements art education, teachers as authoritative representatives often determine the future and development of students. This is antagonistic to my creative thinking, and it has also caused me to bear a lot of neglect. Therefore, I gave a strong emotional projection in my work, trying to construct a field full of strong contrasts, and to convey my inner persistence.

DAILY DRAWING

This series of works is rooted in my daily life observations for many years and presented in the form of on-shelf paintings. In my past creations, the inspiration and life experience are closely and inseparable. Whether it is high and low buildings, people of all kinds, colorful nature, or unpredictable incidents, always trigger my empathy and thinking. I tried to record the daily life with the texture of the oil pastels, because for me, this is not only a common teaching tool in the creation of children's paintings, but also a perspective of children watching the world. I am eager to use this large number of diary-style painting narratives to alert myself to always keep abreast of the real world experience, and always treat life and treat creation with a beginner's attitude.

CONTACT

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Based in London
Beijing/Shanghai/paris