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PLA Painting

Winnie Davies

Hong Kong

Painting, Oil on Canvas

Size: 30 W x 36 H x 2 D in

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About The Artwork

My painting is to remind us the Liberation period of China in contemporary Chinese history. Particularly, women who were totally liberated from the traditional Chinese culture under the Maoism ideas. Women were treated as equals as men; in fact, women were treated as men. Women had to do men’s jobs too, such as heavy labour work in industrial, agricultural and military force. Women had to dress like men – in men’s clothes. Women were not allowed to wear anything revealing their femininity. The point does not suggest that a woman is defined by how she dresses, I just wish to use the dress code as a symbol of feminism. Women had no freedom to choose what they wore as a symbol to show their femininity. Women had no right to choose what role they played in society. One may wonder, does that really mean liberation for women? Do women have to give up their feminine quality in order to be treated equally as men? Were women really liberated during Maoist period? After Deng’s opening-up Economic Policy, women have begun to be allowed to dress like women and not in men’s clothes. Have women enjoyed liberation after Deng’s Open-up Economic Policy? Today, the new generation of women has complete freedom how they dress to show their sexuality. Does it mean that women are totally liberated in China today? In my painting, spectators are confronted with a young woman with luxuriate breasts who is completely nude sitting in front of the foreground. The only garment she has is her Mao hat. In that sense, she is not totally naked. Her Mao jacket is hanged at the background to remind us of her background. My painting is completely opened to viewers’ own interpretation. I only seek to pose a question, not to answer it.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:30 W x 36 H x 2 D in

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Born in Hong Kong. 1996 received BA in Fine Arts from the University of Hong Kong 1997 received MA in Design from Hong Kong Polytechnic University Specialize in sculpture, oil painting, Chinese painting and Chinese calligraphy in my own surrealistic style. Started drawing portraits by self-taught as early as I can remember at the age of 4 before I could even read or write. The first subject I drew was portraits of people. I was so fascinated to draw people, perhaps it is because the subject of "people" was the first thing I saw, being brought up in Hong Kong surrounded by people everywhere. I received my initial art training in traditional Chinese painting and calligraphy, before I went to The University of Hong Kong to study Fine Arts. I have found that my traditional Chinese art studies laid an important foundation for my art development later. Even though when I started oil painting and sculpture later, I could still apply the theories of Chinese art into other western media. For example, the brave decision of Chinese ink painting strokes encourages me to spread oil paints on canvas boldly without hesitation. On the other hand, the preciseness of every stroke I learnt from Chinese calligraphy can be applied to every cut I make the decision in marble sculpture I learnt in Italy later. One may not imagine that how Chinese calligraphy is linked to stone sculpture. In fact, their theories are the very similar. For instance: every stroke you make on calligraphy has to be so forceful and precise on paper, it parallels to every cut I make on marble sculpture. If you make a mistake on your decision, a wrong stroke on paper or a wrong cut on stone, there is no U-turn. Therefore I like to apply the concept of Chinese art theory into my oil paintings and my sculptures. As a result, the creation of my works is a fusion of Chinese and Western concepts.

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