Not Knowing Any Better
A modern and contemporary artist born in China, Huang Liyan is an artist with a very unique and identifiable style. His artworks carry a sense of absurdity and dark humour, with scattered bits of romance inlaid on the canvases, giving birth to surreal scenes that are chaotic, distorted, perverted and fragmented. His newest works are thriving contradictions and juxtapositions as ideas of weightlessness and weight, as well as cruelty and relief, manifest to portray the candid reality of our society.
There are a multitude of reasons why Huang’s works are worth viewing. On the surface level, they seem entirely bizarre with vivid imageries that do not entirely make sense. As you dig deeper, you’re confronted with how he views society, as a mixture of traits both good and bad, from claustrophobia to powerlessness, and from weightlessness to growth. The most appealing aspect of all is that art critic, Feng Boyi, identifies the artist as interesting but useless, yet Huang Liyan himself self-deprecatingly says he is neither interesting nor useful.