Zhu Feng
Born in May 1982 in Chongqing, he now lives and works in Chengdu. He is a member of the Chinese Sculpture Society, a director of the Sichuan Sculptors Association, a member of the Sichuan Sculpture Society, and the deputy secretary-general of the Sculpture Art Committee of the Chengdu Artists Association.
Recent Solo & Group Exhibitions:
2018 "Time Gap" Zhu Feng Contemporary Sculpture Exhibition (Chengdu. Xu Liaoyuan Modern Design Museum)
2019 "Road Turning - Peak Return" Zhu Feng Solo Exhibition (Xi'an. Choi Chun Kwan Museum)
2019 "Chinese Gesture" The 5th China Sculpture Exhibition (Wuhan. Hubei Art Museum)
Curated Exhibitions:
2008 Curatorial 2008 Chinese Contemporary Sculpture Exchange InvitationAle Exhibition (Shenzhen)
2008 Curatorial Exhibition 2008 Times impressions, Special Invitation Exhibition of Chinese Contemporary Artists Studio (Shenzhen)
2008 Curatorial of the 4th China (Shenzhen) International Cultural Fair Hanyu Sculpture Sub-venue (Shenzhen)
2009 Planning 2009 "Space impression" contemporary sculptors group exhibition (Shenzhen)
2009 Curator of the 5th China (Shenzhen) International Cultural Fair Hanyu Sculpture Sub-venue (Shenzhen)
Publications:
2008 Published "Chinese Contemporary Sculpture Exchange Exhibition" (Sichuan Fine Arts Publishing House)
2008 Published "2008. Special Invitation Exhibition of Chinese Contemporary Artists' Studios" (China International Book Publishing House)
2009 Published 2009. Impressions Group Exhibition of Contemporary Sculptors (China International Book Publishing House)
If a worker desires to do good, he must first use his weapon
——The use of digital tools in sculpture art
As we all know, sculpture art is a heavy industry in all art categories, not only the production process is cumbersome, and the production method has always been very primitive, from the ancient period to the twentieth century has not changed, there are no more than two ways of output, the first: clay sculpture creation→ the reproduction of models and fine polishing→ transportation to the factory to deepen the processing and other steps. The second type: artistic creation directly facing physical materials.
(Zhu Feng's 2020 Digital Creation Works - Figurative Series)
It is precisely because the sculpture output workload is huge, laborious, is a double test of psychology and body, so the sculpture department of the Academy of Fine Arts is generally very few girls, to move mud, build shelves, turn over models, often make a disgraced face, just like a plasterer, girls are unable to eat. Most of the female artists who can really engage in sculpture art are women, who seem to be simple on the outside, but in fact, they are strong in their hearts and heroes in the towel.
One day, I was drinking and chatting with my old Wu classmates in college, drinking for thirty years, reminiscing about that year, Qia classmates were teenagers, the style was flourishing, but the pockets were shy, only to go out to enlarge the clay sculpture to live a day, to earn some food money. In the outdoor simple shed, in fact, it is not a shed, but a few pieces of blue plastic sheeting are hung around, facing the eight or nine meters high figure clay sculpture, the two of us climb up and down like monkeys on the steel pipe frame, the sculpture is too big, can only do a little on it, and then come down to look far. The cold wind outside whizzed by, and the touch of mud was really like pinching thin ice, a penetrating cold. If it is summer, it is even more sweaty and miserable. At that time, I wondered why other industries were progressing, but sculpture was still so primitive, from the Neolithic era to the present thousands of years have not changed. I have always suffered from love, so I have silently endured the pain it brings.
Many years ago, we also knew that many 3D software used in design and art, but it has not been popularized in sculpture, mainly for the following reasons:
First, the artist is a more emotional and casual group, born with a slow response to computers and software, not as intuitive as direct drawing and hand-in-hand production.
Second, China's sculpture syllabus has not changed for 50 years, starting from the sculpture department in Chinese colleges and universities, they have always followed the teaching methods of the older generation at that time, and they have been dealing with clay sculptures for five years. A single teaching model allows students to form a single way of thinking, resulting in students graduating in addition to clay sculpture, other skills are basically not.
Third, at that time, 3D printing technology was not mature, and software production could only play a role in renderings, but could not directly produce physical models, which was also the most important reason for restricting the popular use of digital tools in sculpture.
Sculpture art is also a very emotional and rational creation of the work, it is not like painting, can be improvised at any time, a canvas and paint brush can be done, low cost, free to express. Sculpture is not GOOD, especially public sculpture, more emphasis is placed on a team, both to understand the profession, but also to understand the space, but also to understand the construction principle and related procedures, so the sculptor is a public complex, especially at the moment, the requirements for the sculptor are getting higher and higher, and the use of technology is particularly important.
With the advancement of science and technology, the diversification of expression, the maturity and popularization of 3D technology, in the field of sculpture, if the sculptor masters digital technology, it is like a soldier's shotgun for a cannon, a green-skinned train for a high-speed rail, providing you with a different world, different convenience and speed, you can not go to the sculpture studio, do not have to build a shelf, do not have to move mud, do not need to burn welding, travel can be created.
Of course, there are many practices in art, not everyone is using digital technology, what medium to do, is their own individual choice, digital technology is only a tool problem, can not solve the modeling, aesthetics, cultivation and other internal problems, but the times are developing, society is progressing, we need to embrace science and technology, enjoy the results to bring us convenience. Just like we all use smartphones now, it's still hard to really go back in time.
The development of computers and digital technologies will bring more possibilities to sculpture art, the expression of works will become more diversified, and a unique digital style will be produced, and new technologies and new techniques will give birth to new languages, just like the builder and female demon leader Zaha. Like Hadid, modular generation has had a profound impact on the architectural world. Sculpture has developed to today, and finally see the innovation of technology, not in the same as the labor of the mud water worker, not in the game of physical strength, but more in the inner thinking and pluralistic thinking.
--Zhu Feng 2020.3
Zhu Feng's 2020 Digital Creation Works (Figurative Series)
Zhu Feng's 2020 Digital Sculpture Works (Abstract Series)
The graphics and text are from the network collation