It seems to be unsuitable to use the phrase "dwelling narrowness" to describe Wang Shuping's painting, for her paintings always make fashionable impression at first. She prefers to paint girls in the sunshine, under deep blue sky, water is calm on a windless day. Fashionable girls stand there indolently and leisurely, with light make-up and naked body. In most of her paintings, background has been left out, replacing with the flat-painted color full of association and suggestion. The association is given rise by the costumes of the figures. Similarly, the figures are painted elliptically, and the bodies are all flat -painted, with slight and inaccurate shadows. There are no strong colors in her paintings, yet she use complementary colors skillfully, constructing a lively atmosphere of color all the same. Classified in styles, Wang Shuping's paintings should be categorized between modernism and Pop art. The concept of modernism covers a wide range, varying from Post-impressionism to Paris School. Formalization and flatness are also the characteristics of modernist paintings. The problem of modernist paintings featuring the formalism is the sedulous pursuit of forms often turns into the style for form for form's sake, ultimately degenerating into meaningless repetition of geometrical patterns. Personal feelings and spiritual experiences are covered by patterns. In this way, the strong feelings flowing under the surface convert Wang Shuping's paintings into non-modern. Those images and forms seem to breed from the bottom of her heart. If I affirm that Wang Shuping is painting on her own consciousness, that is to say, she is describing her feelings to life, because the figures in her paintings totally originated from her true life experiences. Certainly, she is not accurately recording those life events, but expressing her own feelings and consciousness. In spite of that, the accurate delivery of experiences brings certain deformation to the figures, resulting in slight Pop art style in her paintings.
　　Nevertheless, she didn't pursue the form intentionally, but paint by feel. Not the feeling of paint, but the feeling of life. Having been trapped by fashion career before, she never wanted to be trapped again in painting. In her words, you have to be relaxed when you are painting, that is like it is not you but another person is painting. Here and now, subject is absent. In other words, pretending there is an intangible hand in control, she became a passive recorder of "the other person". This is a fancy idea, as if she couldn't find herself (also "ego") on her own. Unconsciousness can only be found under the circumstance of non-ego. Wang Shuping neither considered herself as a feminist painter, nor pursued feminist consciousness and themes. However, as a matter of fact, sexual elements still play an important role in her mind, characterized as the intentional exclusion to the subjectivity, the subtle perception of life and memory, along with the unique forms and expressions depending on it.Regardless of forms or images, Wang Shuping kept painting by her own feel. Not just the pure feelings of painting, such as her avoiding of academic and realistic style and further purchasing the other techniques, but more the experiences of life. Here, the experiences of life don't point at the observation and expression of life, but the life experiences of her own, concretely, the floating ego and memory in sub-consciousness. Wang Shuping's forms are unique because they originate from her own experiences, that is, costume and fashion. Yet she didn't duplicate these experiences, but combine these feelings with the fashion elements. For her part, she prefers the sort of peaceful paintings, like Chinese ancient portraits of lady and European classical paintings, especially Vermeer, fascinated by the transcendent qualities in those paintings. She was trying to escape from the noises of fashion world, not the visual forms. So she preserved the contemporary visual experiences concealing behind the noises. This kind of preservation is unconscious, but more influential than the techniques learned in academy. In her form expression, the main methods are the flat-painted colors and juxtapositions of color pieces. The combinations of relationship are voluntary, unlike the constructional spatial segmentation in modernist paintings which inheriting from the classicalism. Her forms are emerging from the memory, mainly the fashion experiences, which transformed her painting from "paintingly" into "iconic". The iconic style has been undoubtedly the main streams in Chinese contemporary art for over a decade. However, nowadays, the more and more powerful image experiences we get, the more and more rare creative expressions it emerges. The "diversion" of images no longer derives from the direct experiences and feelings but the imitations between different styles. Painters either imitate the successful icons, or paint as icon for icon's sake. The meanings of icon lie in the new visual expressions under the contemporary cultural conditions, not only the developments of artistic languages at present, but also the results of personal feelings to the visual environment directly. These factors exactly embody in Wang Shuping's paintings, large-area flat painting, gentle colors without strong contrasts, but some bizarre transitions of adjacent colors. Her expressions present a variety of dreamlike sensation, excluding the sexual factors, appearing to be the emergence of memory further. Her paintings are obviously part of her life progress, no imitation, no diversion, even without active consciousness of the existence of images. In contemporary art, individual and difference mean creation. The originalities of Wang Shuping's forms lie absolutely in the un-substitution of personal experiences.
　　In Wang Shuping's paintings, images probably are more important than forms. In a way, forms are motivated by images. The sources of her images are fashion models, but it seems to be uncertainly because the figures didn't wear fashionable clothing or performing, just wearing bikini simply in unspecific spots and spaces. Just the same to her forms, these figures are abstract, similar to the shadowy and visional memory. These flat-painted figures are created in relax mood. Images are duplicated, presenting the integrity in style. Such expression of figures is not merely for the image-building or providing the carriers of forms, it is representation of her internal-needs. That is because the spirituality concealing behind these images, which is neither the subjective expression of painter, nor the objective representation of figures, pointing at the relationship between subject and object. The spirit depositing in those figures, actually is the symbol of the spirit herself. In most of her paintings, the small lock on model's body seems to be a sign, full of symbolism and suggestion. According to painter herself, the image of lock rooted in a coincidence, without any special meanings. Once on a fashion show, the sponsor asked models for performing beachwear temporarily. There wasn't enough time to make buttons, they had a brainstorm to use small locks instead, linking bras and trousers together. They thought it would be ugly at first, but the ultimate effect was surprisingly flavourous, appreciating by the models. But there are so many coincidences in our lives, apparently the choices of painter have the potential meanings. In Wang Shuping's paintings, the environment of figures is absolutely closed, the hollow background signifies the surrealistic space, where people can only obtain real free there, naked bodies, mutual intimation, lonely lingering, sadly eye expression, and the smoking postures like nobody is watching…… We have never get the real free in our true lives, just like those models, superficially dressed up, merely the spokesmen of those brands or the signs of commodity, without identification, without a real self. They can only return to the real self inside the spiritual world; even it lasts extremely momentary, as short as their youth.
　　It appears to be a little bit abstract to say so, but we assuredly can't comprehend Wang Shuping's paintings intuitively. A variety of languages and patterns could be easily diverted, yet personal experiences and psychology could hardly be reduplicated. She manages to reflect her own experiences under the circumstance of consumption society through forms and images, similarly provide the spiritual record of a unique crowd. This is also the meaning of contemporary paintings, patterns aren't the ready-made diversion, even in the advertising world. Form only makes sense when it is constructed on the foundation of personal experiences in the course of living through patterns. At the first moment of picking up painting brush, life experiences flooded Wang Shuping's mind, she explored artfully and gained huge success. However, if she wants to keep on exploring, she has to return to society, that is, the consumption society she has been trying hard to evade.

作者：Yi,Ying