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Xia Junna graduated from the Affiliated High School of the Central Academy of Fine Arts in 1991 and won the Excellence Award for Graduation Creation. In the same year, he was admitted to the fourth studio of the Oil Painting Department of the Central Academy of Fine Arts, where he studied under Mr. Wen Lipeng, Ge Pengren and Wang Yuping, exploring the integration of Western oil painting language and Chinese modern and contemporary culture. In 1995, he graduated from the Oil Painting Department of the Central Academy of Fine Arts, and won the Excellence Award of the Central Academy of Fine Arts and the Okamatsu Family Scholarship in Japan.
In today's painting art camp, female artists have become a force to be reckoned with. Most female artists do not like to express too much philosophical thinking and social phenomena, but tend to a psychological description, depicting the feelings and personal experiences in their hearts, so they are more personalized. This sensual character of women drives them to pay more attention to and express some "small things", that is, the things around them that can directly touch the delicate feelings, and lack of interest in topics of grand significance such as politics and history.
At present, in this group, Xia Junna is a young painter who is concerned by the art world, critics and connoisseurs. Xia Junna's paintings usually present a sense of elegance and splendor, and the pictures are always shrouded in a hazy and dreamy mysterious atmosphere, as if describing the dreams of young girls.
Her creations are all mastered in a female psychological scale, focusing on the expression of painting language and the transmission of emotional atmosphere, which is also characteristic of most female painters today.
Xia Junna's creation is mainly based on maidens and flowers, and in her works, flowers and maidens are actually just a symbol. Most of the girls in her paintings have similar faces, and the environment is usually arranged in a sun-filled room or garden. As the painter himself put it, "I need a sense of disorder, sensibility, obscurity, warmth, femininity, flowers and maidens who can meet my requirements." ”
Her paintings, consciously or unconsciously, seem to convey an air of tranquility and peace, away from the hustle and bustle, away from the world, as if they come from a world that is both familiar and unfamiliar to us.
Xia Junna was asked in an interview why she chose fashionable girls, flowers, cafes, a leisurely lifestyle, or a subject with a little classical feeling. She said: It's like what you like in the dark. She has loved beautiful women since she was a child, and has chosen flowers and plants as painting objects, which is a portrayal of her real life.
Flowers and green plants have a symbol of vitality, so as to be able to reflect people's life state and spiritual wishes, such a wet and hazy atmosphere, as if only combined with classical and elegant women can be expressed, most women will have their own space, with flower-like girl dreams, dreaming like a dream, Xia Junna is living in her own kingdom, living in her own ideal world, she rarely has contact with the outside world, but as far as possible with her own soul, inner dialogue, through painting, Expressing his inner emotions, he formed his own unique painting style.
As a female artist, Xia Junna is very sensitive to the perception of color. Impressionists were good at using light and color to convey their inner subjective emotions, and Xia Junna was very fond of the painters of impressionism as a whole, and Bonal, Viar and Baltis also had a great influence on her early paintings. She does not paint according to the inherent color of the object, but relies on her inner feelings, first smearing a large piece of color on the canvas, and then looking for the form of the object in the color. Xia Junna advocates painting purely with color, believing that the essential beauty of color should be preserved in the picture, and the essential beauty has constancy.
Emotion always carries a certain major tendency, it is always associated with people's subjective needs, wishes and ideals, and this is especially evident in women's paintings. Most of the creations of female painters are known for their emotionalization, they will love life, advocate the involvement of emotions into the artistic image, and make it have a touching connotation and moving formal language. Xia Junna's "Young Girl" series makes us feel the purity and authenticity of her pen, from moving images, beautiful colors to exquisite ideas, she loves life, embraces life, she paints what she sees, thinks, and paints all kinds of real feelings she gets in her daily life. What moves people in her works is that, in addition to her skillful painting skills, there is also the expression of her true disposition.
Xia Junna's paintings focus on a kind of charm, such as jewelry and flowers often appear in her pictures, and these two objects are distributed in irregular circles in the picture, appearing rhythmically, and these circles are connected in a breath of rhyme in the picture. The same is true of colors, similar colors echo each other and connect into rhythms. Because Xia Junna started from the study of Chinese painting, she integrated Eastern culture into Western painting, and used the writing method of Chinese painting to paint oil paintings with brush strokes, so that all kinds of colors were combined, one stroke was in place, and the atmosphere was vivid. This charm is also reflected in the texture of her treatment of the surface of the oil painting, which is the random state that is extremely difficult to control in freehand art, and its entire fate is controlled by the creator's pen. Xia Junna once said that her paintings are very direct, painting is a natural growth out of some need, she wants to express rather than depict, the process of moving the pen in one go is easy, and not showing traces is the ideal state she pursues.
Xia Junna's contemporary art creation, while drawing on and learning the essence of Romantic art and previous experience, takes the contemporary cultural context as the background and takes the artistic scene of the era as the soil to achieve the continuous maturity of her own artistic concept and performance, from which we can see the continuous thinking and exploration of her artistic practice, the spiral of perceptual experience and rational thinking, the feeling and touching of the artistic spirit in the exploration of practice, and the appropriate self-integration of art and technology. At the same time, actively summarize practical experience, take the contemporary self-examination of internal reason as the driving force, externalize the technical exploration as the observation, clarify the direction of their spiritual pursuit, gradually understand the true meaning of the artistic spirit, and walk out of a contemporary artistic creation path that is suitable for their own spiritual expression and is very different from others and different from the romantic face.