Fang’s paintings, depicting figures with clean-shaven heads, a languid air, and apathetic expressions, have become important air, and apathetic expressions, have become important icons representing Chinese contemporary art since the 1980s. Since the end of 20th century, there is no one, save Li Xianting (who dubbed Fang’s work “cynical realism”),who has succeeded in creating representational painting that incorporates literary content suggesting a certain segment of human history while depicting his subjects in such a caricatured manner while at the same time enjoying nearly universal in the art world.

　　Fang was born into the wealthy farming class that was subjected to much criticism during the Great Cultural Revolution, and to avoid being bullied as a child, rather than playing outside, he was given art supplies and encouraged to paint pictures indoors. As he wasn’t allowed to enter the art department in elementary school, he formed his own circle of similarly inclined students. Continuing to devote himself to his studies, in 1980,he next entered the ceramic arts course at Hebei Light Industry College, where he formed a strong friendship with Li Xianting, who served on the editorial board of the magazine Meishu(Art). After graduation, while working at a local advertising company, Fang was allowed to participate in the National Art Exhibition, and in 1985, he entered the Painting Faculty at the China Central Academy of Fine Arts, Beijing.

　　The men with clean-shaven heads that characterize Fang’s work first appeared as a motif in 1988 while he was still in the Academy. Yet, in an early series of drawings, the figures are each portrayed with uniqun features, The following year, the “Contemporary Chinese ART” exhibition, designed to show avant-garde works by Fang and others, was intervened by government authorities, and the Chinese art world also experienced setbacks following the rise of the grass-roots freedom movement which culminated in the Tiananmen Square Incident. These events clearly exerted an influence on Fang, as is illustrated by the nihilistic painting style he adopted not long after. These new works are also notable for the sudden change in color. By preparing the canvas with a bright and clear blue sky, Fang further emphasized the powerlessness of his people, depicted with cynical expressions.

　　Fang’s work was first introduced in Japan in 1994 at the 4th Asian Art Show, and in 1995, a large-scale solo exhibition was held at the Japan Foundation Asia Center. Abroad, Fang’s work was presented in the Aperto at the 48th Venice Biennale in 1999, the “Alors, la Chine?” exhibitions of his work were also held at Museum Ludwig in Cologne in 2002,and the Beijing Today ART Museum in 2006.

　　(N.Y./C.S.)

　　出处：《20years of China contemporary art》, 2008， P75。