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Lot Essay
Jia Aili was born in Dandong, a border city in northeastern China in 1979. Strategically located in an area with rich natural resources, Dandong is a hub connecting land routes to and from South Korea, China, and Euroasia. It is also designated as a major export production center and port city connecting China with South Korea and Japan. Its tactically crucial location makes it a prominent military stronghold. A first-generation youth born after China's open policies in the 70's, Jia Aili witnessed China's military, political and economic reforms of the 80's, the Cold War between the U.S and the now-defunct USSR, and the political turmoil in eastern Europe, the collapse of the Soviet Union in the late 80's and early 90's, and economic reconstruction in China of the same era. Industrial restructuring of the 80's forced the steel industry and heavy-duty machine manufacturing - Dandong's lifeline - to shut down, forcing many laborers out of employment. Jia Aili was on hand of these transitions during his formative years.
Jia's father was a writer and his home was a proverbial library of literary and political works., because his father was a writer. Some of early Russia's tragic and heroic poetry and dirges, and works by realism French novelist and playwright Honor? de Balzac were his favorite. He studied ink art painting in his youth, and learned to enjoy the solitude and quiet silence of the creative process. That Those experiences unleashed his potential to express his innermost through painting. Between 2000 and 2006, Jia devoted himself to the studies of realism when enrolling enrolled in the Department of Oil Painting at Luxun Academy of Fine Arts. He was rigorously trained, and beginning began to explore man's realistic, spiritual state.
After arriving in Beijing, Jia started to assemble pieces of realistic spectacles he has seen, or kept in his memory, in a subjective manner, using a placid, objectivist technique; he completed one after one an epic stagecraft on the canvas with an almost surrealistic touch. "This desire accounts for the enormous scale deemed necessary for the paintings, which ultimately draws viewers close to the solitary soul that Jia Aili inserts in the vast landmasses that set the stage for his synoptic psychological dramas." (A Walk in the World of Jia Aili by Karen Smith)
This piecelot, titled, 1979.6.1 (Lot 64) is set against Jia's hometown by Yalu River. A tumbled aircraft laid by the river is, smoldering in thick, black smoke. On the surface of a river afar, Lenin's huge, dismantled statue stayed afloat, indifferent to the collapsed aircraft. By the front of the fallen plane, two young girls dressed in their holiday finest outfits ruan toward a distant unknown place unknown. The red-faced young pilot, a girl wearing a rabbit-ear-shaped headdress, a mannequin for autopsy, and the frolicking children on the beach all coame from different places of our imagination.spacetime. Though the drama unfolded by the river, different storyboards were being drawn across different spatiotemporal contexts. Jia Aili was not yet born on June 1, 1979. There was perhaps a sense of participation for what was to - or not to - transpire.
In this spatiotemporal context, made up of events, memories and images, Jia managed to thrust them into the same psychological and creative drama. The seemingly disconnected details beckon viewers to see a world that is completely private: a world that is constantly collapsing and being rebuilt; a notion that is being destroyed and reborn. The oppression and disturbance that one faces is analogous to the realism and sense of loss portrayed in Hymn (fig. 1) by Damien Hirst. Destruction was not the destination, or the actualization of pessimism, from Jia's perspective: it was the path to Utopia, the natural union between and man and the cosmos to become part of the universe. Such is the "inseparability of birth and destruction" in Telle m?re tel fils by Adel Abdessemed (fig. 2). "Rebirth" under Jia's brushstroke nurses a hope for redemption. Jia said, "I can feel it, the history that envelopes us is undergoing its own menopause, slowly but surely. So what's next? The late-coming calm, or a blissful new birth?"
Compared with his predecessors, who adopted straightforward totems or signals to reenact political viewpoints or social leanings (fig. 3), Jia embraced a more open perspective to reflect on history, and social, political, and economic reforms that China has endured. His solid training and sensitivity to contemporary art define his unique, creative language: "enacting modern, artistic viewpoints on the canvas with calmness and objectivity." Jia established a new form with the epical effects of his works that is sandwiched between aesthetic narrative and anti-narrative. His extraordinary talent is, indeed, pioneering a new artistic movement.
Jia's father was a writer and his home was a proverbial library of literary and political works., because his father was a writer. Some of early Russia's tragic and heroic poetry and dirges, and works by realism French novelist and playwright Honor? de Balzac were his favorite. He studied ink art painting in his youth, and learned to enjoy the solitude and quiet silence of the creative process. That Those experiences unleashed his potential to express his innermost through painting. Between 2000 and 2006, Jia devoted himself to the studies of realism when enrolling enrolled in the Department of Oil Painting at Luxun Academy of Fine Arts. He was rigorously trained, and beginning began to explore man's realistic, spiritual state.
After arriving in Beijing, Jia started to assemble pieces of realistic spectacles he has seen, or kept in his memory, in a subjective manner, using a placid, objectivist technique; he completed one after one an epic stagecraft on the canvas with an almost surrealistic touch. "This desire accounts for the enormous scale deemed necessary for the paintings, which ultimately draws viewers close to the solitary soul that Jia Aili inserts in the vast landmasses that set the stage for his synoptic psychological dramas." (A Walk in the World of Jia Aili by Karen Smith)
This piecelot, titled, 1979.6.1 (Lot 64) is set against Jia's hometown by Yalu River. A tumbled aircraft laid by the river is, smoldering in thick, black smoke. On the surface of a river afar, Lenin's huge, dismantled statue stayed afloat, indifferent to the collapsed aircraft. By the front of the fallen plane, two young girls dressed in their holiday finest outfits ruan toward a distant unknown place unknown. The red-faced young pilot, a girl wearing a rabbit-ear-shaped headdress, a mannequin for autopsy, and the frolicking children on the beach all coame from different places of our imagination.spacetime. Though the drama unfolded by the river, different storyboards were being drawn across different spatiotemporal contexts. Jia Aili was not yet born on June 1, 1979. There was perhaps a sense of participation for what was to - or not to - transpire.
In this spatiotemporal context, made up of events, memories and images, Jia managed to thrust them into the same psychological and creative drama. The seemingly disconnected details beckon viewers to see a world that is completely private: a world that is constantly collapsing and being rebuilt; a notion that is being destroyed and reborn. The oppression and disturbance that one faces is analogous to the realism and sense of loss portrayed in Hymn (fig. 1) by Damien Hirst. Destruction was not the destination, or the actualization of pessimism, from Jia's perspective: it was the path to Utopia, the natural union between and man and the cosmos to become part of the universe. Such is the "inseparability of birth and destruction" in Telle m?re tel fils by Adel Abdessemed (fig. 2). "Rebirth" under Jia's brushstroke nurses a hope for redemption. Jia said, "I can feel it, the history that envelopes us is undergoing its own menopause, slowly but surely. So what's next? The late-coming calm, or a blissful new birth?"
Compared with his predecessors, who adopted straightforward totems or signals to reenact political viewpoints or social leanings (fig. 3), Jia embraced a more open perspective to reflect on history, and social, political, and economic reforms that China has endured. His solid training and sensitivity to contemporary art define his unique, creative language: "enacting modern, artistic viewpoints on the canvas with calmness and objectivity." Jia established a new form with the epical effects of his works that is sandwiched between aesthetic narrative and anti-narrative. His extraordinary talent is, indeed, pioneering a new artistic movement.