Only rational fantasy is the essence of art -- Goya
The artist may not intend to transcend the classics, while the experiences of art practical collide in the imagination sometimes, and some indescribable perception and fantasy will arise. We see a desolation constructed by desire among 17 works in this exhibition, which continues the essence of art in life. The so-called "desire" is a dissolute state which is showed obviously or without disguise on Ge’s painting. It is a kind of twist or dignity that not belongs to any class. While the "heaven" is just the place with flowing “desire”, the place likes a hotbed where time and space are vague, the word was said hesitantly in our dream and the initial imagination of life. Ge creates many plump bodies with alienated and absurd ways to represent the desolation behind logos. These works, which end in a flutter dance, in a long standing meditation, in a desire of fleshliness, and are finished in a state that is still called unfinished, are being shrouded in a fuzzy dream.
On the one hand, goya believed the existence of reason, on the other hand, he could not see the direction of It. In his later years, he said:" Only rational fantasy is the essence of art " . This opinion are inspired with the "reason" in the enlightenment thought. Goya, with the control of reason, painted the religion as a devil and the bigwig es as an animal, and his paintings are full of coarseness, loss and uneasiness. He had no choice about art in the religious society, while he was trying to release his desire in his heart.
Since Goya, the expression of personal emotions changed from "beautifying objects" to "rational fantasy" gradually. Ge lives in an age that cultural was integrating but still don’t have any result in a long period. He grows naturally and builds his logos and aesthetic outside the sight of existing systems and spectrum. In his works, the figures that lie, lie on one side or sit down are usually drawn from life, but their identity is difficult to be distinguished. It has strong sense of painting model. But it's hard to ensure if all the details are belonging to one model. Under the control of reason, Ge painted them into an outline of the symbol "people". We can comprehend that as an implicit transmission from reality to the brain and the identity of figures are shifted from specific to the random. This inevitably involved the audience in the doubts about the viewing identity, while a kind of aboveboard "rational imagination" impacts the audience's "desire" of watching through the structure of painting.
We might as well borrow a sentence of Ge: “things are misty, changeable in the dream, which only can be presented hesitantly, and it’s also back to the original imagination of life. The delirium in dreams can only be heard when life is in an extraneous state." This sentence can be seen as a poem and an expression of the artist trying to de-identify and relook himself. He saw himself as a free person who not belongs to any age. The instinct of breaking the stalemate became a genetic link between his body and Goya's "original state" of art.
The edge of shape is the most significant element in Ge's painting, while the potential feature is clear figure and the fuzzy thought. Paintings swirl in ambiguous imagination. He confirms the truth and the most natural and original shapes. Where did the original state come from? Foucault said: "People ask the most private questions in the most private places". Ge put himself in the position of "absolute privacy", and keep asking himself where is the truth for a long time. So, Ge usually adjust and polish repeatedly in front of a picture, force himself into the most private situation repeatedly.
In the work "thirty-six flowers", we can see the unfinished effect. The rose surrounded by thorns at the front of the picture, and a figure with unclear posture is associative in the distance. The distribution of the content and brush stroke in the space is set up on the spatial gradation. The linear structure of it is similar as music, and is completely separated from the classical style. The two large paintings named "shy, too shy" have obvious Goya's pungency style. The infinite liberation of art and personal estimate of contradictory human nature form a unified plane space like a stage. In trying to assimilate the visual cycle of the dream, Ge's rational control is behind those seemingly scrawled, intermittent and confused colors. He held mystery in one hand and romance in the other, because "desire" leaped freely on the stream-of-consciousness, like a poem, when mystery and romance were hold. Under the illusion of stream-of-consciousness, there is a clear purpose of de-story in the works such as "never prepare a story". The impenetrable and ineffable content, the unpredictable expressions and the interdependent limbs, all point to contradiction of human nature. The animals in some paintings appear to be quiet, the lion and the people coexist peacefully, the white goose is picked up by the woman happily and easily, they are full of the absurd feeling and drama abuse when putted together.
“What’s the color of paradise?” “It’s flesh pink.” The bodies in fresh pink are staring at viewers dimly and uneasily. "Heaven of desire” not only belongs to an outline of bodily symbol, but also belongs to a complex superposition dream. When it breaks on account of overburdened, the figure starts to appear, the savage giant, the inane man and bashful woman, they won’t belong to any class and it’s not a demonstration of any pine or joy. What are they waiting for? Or decide to don’t have conversations anymore. The wild growing, the victory of freedom and the great innocence, all can be state though borrowing Ge’s art. Also, it could show unexperienced victory. What can be recounted with instinctively is paradise.
