Ouyang Chun was born in Beijing 1974 and graduated from the Department of Art Education of Xi`an Academy ofFine Artin 1994. He currently works and lives in Beijing. Ouyang Chun is invited from several international exhibitions and just finished the exhibition of 王Ouyang Chun—Painting the Kingat Belvederein Viennaand at me CollectorsRoominBerlin. He also had several exhibitions in other countries, such as Close Encounterat South Korea's Cheju National Gallery, Ouyang Chun Paintings 2007-2009at Galerie FrankSchlag & CieinGermany, Hand + ExperimentationatTokyo wonder siteinJapan. Ouyang Chun is regarded as one of the starts among the artists in the generation of “post-70s”.
He is the only successful Post-70s artist who was not graduatedfrom a prestigious art academy. Ouyang Chun is inspired by the contradictions and incongruities in Chinasociety today. He is fascinated by truth and the ridiculousness that accompanies it.
Ouyang Chun abandoned the middle schooland left his family to independently discover theworldin his own way. After he had been in the dreadful world at his early age, he has been attractive to art. Through the oil painting, he found that art had become his mission and then attended to the art school. At the art school, he was driven by the self-guilty, the regret and the demand of confronting the complex and degenerative world, he started dedicating to art.
Art has become Ouyang Chun’ssalvation.His paintings bear thefolkloric beauty, and sometimes the artist is inspired by the parables of violence and greed or promoted by joy and sorrow at times.In his works, each painting is full of heavy interlaced oil paints, and the longest process of his creation is the wait for the creamy like paints on the surface to dry. The artist avoids from “style”, but the chaotic picture and the constant childish images have become his characteristic. However, he never sought for any meaningful aesthetic of tradition through his works.
The rise of Post-70s artists has beenestablished on a potential ofself-expressionof the artists, thus it has become the reason ofOuyang’s success.“Mostof time,I’m expressing myselfthrough painting, I am not just painting.” While artists of his generation discardedthe topicand began to experiment with personal psychology, Ouyanghas not abandonedthe idealisticnotion that art shouldbe instructive and services for a greater ethic.The power and message of his paintings can be felt and interpreted by anynon-specialist viewer. And in some sense,this makes himbecomea revolutionary hero ofthe classical sense. The amount ofpaintings coming out of Ouyang Chun’s studio couldattest his adaptation to the national growth.Those paintings are premeditatedfor months, even years and the artist has contemplated before creating those works, even though the artist produces his works quickly. When the young Chinese artists receive the criticism as they are catering for the international art market through their art performances, Ouyanghas kept striving for the new creation and idea in each painting.” My paintings have their own life, I am not like other artists who keep painting the same mark in each paintings. My works are alive with vitality.” Ouyangsaid.
Extract from Whales, Pirates and Good Intentions, by Lee Ambrozy