Author: BU DI 卜镝

Size: 200×200cm

Signed and dated: Painted in 2012

Estimate: 300,000 -500,000

Final Price: RMB 500,000

LITERATURE
Bu Di / Cheng Xindong International Contemporary Art Space
signed in Pinyin and dated 2012
EXHIBITED
2013 Bu Di Work Exhibition Cheng Xindong International Contemporary Art Space, Beijing

From Pine needle to Willow Bushes (excerpt)
Author / Zhu Zhu
In these years since he regained his brush, the ancient landscape painting has become the object of Bu Di's deconstruction. This is not an idea derived from some linguistic theory. His motivation is more instinctive. He regards painting as a 'place that can escape from reality'. The scenery and field in the landscape painting can be empathized, which can make him get lost voluntarily, and then find and construct individual language, form and sense of space, This path also coincides with his long-term habit of collecting and appreciating cultural relics.
As for the possibility of self realization, he obviously despises the superficial material and concept substitution, that is, to replicate the classic Taohuayuan images in the form of oil painting. This building block like cognitive game, Corresponding to his specific creation steps: start from anywhere on the blank canvas. Through the derivation and spread of details, a whole is gradually formed, and this whole may return to the established structure of the original text, or it may only enlarge a part, or it may cause a strongly distorted landform.
It is still an image, but it is no longer a landscape. The ancient landscape texts are mostly used as structural borrowings, and the original semantics and meanings are emptied, opening up his field of language alchemy. As he said: 'my observation of tradition does not mean that I must escape into naturalism and recreate the specific situation in traditional painting. I prefer to enter the classics of modernism and rethink.'. In terms of imagery, the pine trees accompanied by Gao Shi in the garden are full of sharp metal characteristics in his works. The trunk has become a geometric square, and the lotus leaf is like a huge gear that does not fall in the water. The mountains and valleys of the Song Dynasty seem to have been rebuilt by constructivism, and even the inscriptions and postscripts have been translated into graffiti style branches and stones... Stacked in the image of Bu Di, In fact, he is an evolving cognition of a painting history without time and space boundaries, and the psychological accumulation left by practical experience.
In that clue that may belong to him, the influence of Paul Kerry and Geon Miro, who have been confused since his childhood, still exists, along with the Surrealism's trick of creating a grotesque narrative atmosphere (which is mixed into the mountain and forest space by Bu Di in some works). At first, the complexity and hardness began to become free and clear in the flow of rhythm, and the color tone also became soft. The landscape painting text was present in a more hidden way to assist his personality. Then, it weakened the original sharp realistic emotion like pine needles, and replaced it with the vitality in a relatively calm rational tone. When these factual developments continue to occur, it means that he is no longer limited to the tense cognitive practice, but provides us with spiritual aesthetic comfort.