About my new series "Game of the creatures"
The core of my image is the connection between things. This series of works presents the complex expressions of these connections. Nature, figures, creatures or fictional forms meet each other in painting. Coexistence, game and anti-hierarchy are the key words of these works. I am also interested in how the concepts of pleasure, insidiousness, desire, and sacredness are connected with visual experience. I would imagine what kind of dialogue these works will create with the viewer. I hope they retain a universal readability in terms of visual perception, but at the same time remain mysterious. The channels of reading depend on intuition and sensibility. They can have no precise significance and meanwhile be open to all meanings.
"Fictions in Fragments" Kylin Gallery 2021
In the body of work on view, Fu presents a series of highly rendered tableaux that depict an etherial array of supernatural scenes. Drawing from Western architectural and art historical motifs, each painting ebbs and flows with a dreamlike temporality, slipping between emotional and illustrative states. Idealized Baroque design is delicately woven with romantic landscapes and modernist interiors, confusing interior and exterior space. These romantic, Occidental tropes are frequently subverted however, exposing fissures from which an uncanny mystery permeates. Often expressed as natural events like smoke, lightening, waves — these moments disrupt the revery and make-way for pure abstraction. Fu’s work deals in the transition between modes; from representation to paint on canvas. Delicate photo realism recedes behind a rough smear of black acrylic, or sporadic, strange stick-like forms that spider across the canvas like bolts of lightening. Such shifts give rise to the uncanny, a state of haunting alienation and the unknown.
Derived from the German ‘unheimlich,’ the uncanny depends on the familiar in order to achieve its elusive un-homeliness. In this space, unmoored from the familiar and domestic representations by tumultuous events, the viewer can come full circle from the fragments of fiction to what is before them; paint on canvas.
Fu Site was born in the Liaoning Province, China in 1984. He graduated from Tsinghua University in Beijing (2006), the Ecole des Beaux-Arts in Versailles (2011) and the Ecole Supérieure d’Art du Nord Pas de Calais (2014). Having lived one third of his life in France, Fu’s work grapples with the romanticization of western cultural signifiers.
"Disrrupted Narrative" Galerie Paris-Beijing 2017
A complex assembly of shadows and reflections, human presences, images of interiors and natural landscapes, Fu Site’s pictorial language borrows the codes of the oneiric world, to give life to scenes that open the field of interpretation.
Even though we are far from the sombre atmospheres that characterised his early works, a certain tension still lingers.By subtly combining fragmented images and overlapped narrative layers, Fu Site knows how to provoke a certain ambiguity on our perception of time, depriving the scene of any logical coherence.
Like memories or spectres, his enigmatic anti-heroes softly appear on the turbid surface of the canvas: they inhabit space without really belonging to it. Their juxtaposition with baroque decorations and, more recently, contemporary interiors, whose elements are sometimes barely suggested, plunges the viewer into an ongoing story with multiple denouements.
Fu Site lived a third of his life in France yet the almost obsessive representation of Western interiors evokes his fascination for what may seem like an inverted exoticism. Mirrors, beds, dressing tables, armchairs are removed from their original context and transposed into a new space to compose a fictional image. Like most Chinese artists of his generation, his painting is freed from any social analysis turning to introspection to reveal a new approach to figuration.
"Politatien" Galerie Paris-Beijing 2014
Realized between 2013 and 2014, the series Politicians is his most recent. It evokes the complexity – and even the cruelty – of contemporary debates and political battles, creating scenes in which evanescent male figures argue, discuss or simply find themselves in strange situations. Behind the curtains of a waiting room, between the veils of a canopy or in the reflection of a pool, troubling scenes emerge, as if insidious truths were hiding under an apparent calm.
Site Fu’s canvases seem to superimpose the layers and time of the narrative, introducing a psychological dimension to the space. Hallucinatory visions rear up in the immobile décor like traces or snippets of memories or fantastical presences. A perfectly mastered use of mixed media – China ink, pencil and oils – allows Site Fu to play with the spatial layers to introduce a blurred temporality.
This young Chinese painter’s references range from Goya to Francis Bacon to romantic painting. In his works, we find a fascination for shadows, allegories, fantasy and the unconscious. The disequilibrium in the composition and framing, the very dark color palette with nuances of ochre and grey and the tortured figures bent into the texture of the canvas evoke these artistic references.
Site Fu also loves cinema: he admires David Lynch and says he’s very influenced by the “seventh art”. He composes his paintings with a pronounced taste for mises en scène, making use of framing techniques borrowed from cinema such as freeze frames. The moments are therefore fixed on the canvas, creating a feeling of expectation as if they were suspense-filled fragments from a film.
Site Fu was born in Liaoning (China) in 1984. He earned his diploma from the University of Tsinghua/Beijing (2006) and the Versailles School of Fine Arts (2011). This young and talented painter has won numerous prizes and awards, including the Canson Prize in 2013. His work has been shown in solo and group exhibitions in China and France, where he lives and works today.