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Lot Essay
The Mask series represents the inner most feelings of a generation going through rapid political and social changes. In 1996-1997, Zheng Fanzhi's artistic style became more formal and refined, with softer hues and brushstrokes. This change of style reflects the artist's own acceptance of the role of the mask in social interactions. In Class One Series No. 31 (Lot 511), a member of the Young Pioneers of China in a red scarf is wearing a mask with a much older face. The worldly but hopeless smile instead reflect a face that has been through it all. The shiny, retro hairdo was once representative of the successful men, however the red scarf produces a rather childish effect.
A sense of mystery is created by the fact that the face is hidden underneath the mask. We cannot read if the figure is a naive youth who covets political glory or if it is a jaded grown man who is nostalgic for the time of the red scarf. Through the Mask series, the artist invites the audience to experience his own inner struggles in a superficial society.
Mask Series 1997 No. 13 (Lot 510) expresses how the younger generations of China adapt to Western and foreign cultures under globalisation. Also reflecting a more mature and honest attitude of the artist. In the earlier period of the Mask Series, Zeng used conservatism and indifferent men in suits to imply tension and nervousness. The young man in this work looks comfortable with his hands in pocket. White T-shirt and denim, as a typical American casual style, reveals the artist's change in attitude. The character confidently looks at us through the mask, and the wrinkles on forehead is created by the intensity of his gaze. The mask has now become a part of the body. Light pink and bright yellow in the background, as well as smiley face on T-shirt, create a pleasant scene. While details in the work disclose tranquility, the white and curtained hair reminds us of the American pop artist Andy Warhol. This tribute to the Western art icon, indicates Zeng's future artistic direction, progressing from the pessimistic Hospital series and Meat series to the optimistic and aesthetically beautiful Landscape series.
A sense of mystery is created by the fact that the face is hidden underneath the mask. We cannot read if the figure is a naive youth who covets political glory or if it is a jaded grown man who is nostalgic for the time of the red scarf. Through the Mask series, the artist invites the audience to experience his own inner struggles in a superficial society.
Mask Series 1997 No. 13 (Lot 510) expresses how the younger generations of China adapt to Western and foreign cultures under globalisation. Also reflecting a more mature and honest attitude of the artist. In the earlier period of the Mask Series, Zeng used conservatism and indifferent men in suits to imply tension and nervousness. The young man in this work looks comfortable with his hands in pocket. White T-shirt and denim, as a typical American casual style, reveals the artist's change in attitude. The character confidently looks at us through the mask, and the wrinkles on forehead is created by the intensity of his gaze. The mask has now become a part of the body. Light pink and bright yellow in the background, as well as smiley face on T-shirt, create a pleasant scene. While details in the work disclose tranquility, the white and curtained hair reminds us of the American pop artist Andy Warhol. This tribute to the Western art icon, indicates Zeng's future artistic direction, progressing from the pessimistic Hospital series and Meat series to the optimistic and aesthetically beautiful Landscape series.