Feng Zhengjie was born on 1968 in Sichuan Province, China he lives and works in Beijing, China. When Zeng Fanzhi was at school (1987-91), he particularly liked the work of the German Expressionist painters. In the third year of his studies, he put Soviet Realism aside and began to explore expressionistic approaches to painting. His works of this period have further echoes of another of his favorite artists, Beckman, but when it came to creating work for his degree show, the Xiehe series, Zeng Fanzhi had already established his own style and the impact of the work had won him a strong reputation in Chinese art circles… Feng Zhengjie paints striking contemporary women. With their colored hair, richly hued clothes and luscious, expressive lips, the women appear irresistibly dazzling. And yet, the wandering expressions in their eyes render them elusive and enigmatic.These strange, unknowable eyes have become Feng’s signature style. Feng studied to MA level at the Fine Art education department of the Sichuan Academy of Fine Art between 1988 and 1995. After 1989, Feng rejected both socialist realism and Western academic art, turning instead to the questions raised by China’s emerging contemporary art scene. He developed a more critical outlook with regards to society.
Reminiscent of Warhol’s screen printed celebrities, Feng’s paintings reflect a vision of futuristic pop. His generic portraits of women are influenced by promotional imagery: their exotic colours, electrified auras, and wind machine hair exude the glamour aesthetic of commodified desire. Feng appropriates these staples of western kitsch as a readymade lingo for a duplicity of ideology. His work is often discussed as capitalist critique, his empty eyed models posing as frivolous and vacant signifiers. Neither western nor Chinese in appearance, Feng’s femmes fatales are a super-hybrid of commercial beauty, a science fiction product of globalisation.
Painted in massive scale, Feng’s canvases replicate the billboards from which they were inspired. Without text, or accompanying products, Feng’s paintings streamline their hard-sell ethos. Removing all distraction, he exposes the essence of temptation, magnifying the sex appeal of fantasy lifestyle and its gulf of intangibility. Transposing these disposable sentiments through his highly refined painting technique, Feng glorifies the allure of advertising as epic, enduring, and numbingly empty.