Ｘｉｅ Ｑｉ: Ｂａｄ ｇｉｒｌｓ ｇｏｅｓ ｔｏ ｈｅａｖｅｎ ｔｏｏ
Good girls goes to heaven, bad girls goes everywhere. This sentence was originally name of a best seller by … and is now a catch phrase on the net. Xie Qi lives alone and paints in an apartment near the north fourth ring road in Beijing. She is an independent artist, either in the sense of her ideology or in the sense of her lifestyle. She supports and entertains herself. She has a character and clear. Sometimes she has too much confidence; sometimes she grows love for no reason, or hatred with her strong evidence. Her painting go for her feeling and her brush produces magic. Xie Qi should be categorized as a talented painter. Painting excites her rich imagination and let her imagination nerve grow like weeds. At the same time, by painting, she indulged herself into her exuberant world of the self. Xie Qi never hides or taboo on secretive sex or sexual organs in her creation. She speaks out what is in her mind and creates many rebellious figures and images. In her paintings, she employs unique expression and strokes to emphasis spasm, excitement, struggles of muscles and misty souls. She is not a realistic painter; neither does she possess absolute expressionism spirit. The abstract strokes and details that fill up her paintings have revealed the possibility of her multiple pursues of logic advancement. Xie Qi enjoys creating a new style and then, to overpass it. By doing this, she experiences the pleasure of self-revolution and inspiration. Inside Xie Qi, is a strong and relentless world. Her wild happiness and tranquility can be found similar in other’s painting by eyes, but not by heart. Right till now, the technique that Xie Qi employs on her paintings are getting more and more mature and delicate. She starts and ends her emotions and all her enthusiasm, which makes audience feel hard to find the clue.
Good girls always have misleading area in their thoughts because good girls are results of Emile education. Bad girls prefer to grow by themselves because bad girls precious themselves. They respect themselves; therefore, they try successfully realizing their own values. Xie Qi is a bad girl in this sense, but she owns one treasure. She holds fast to self-revolution in her art and by doing this, she is filled with talents. Xie Qi connects with each of her works and her works follows her witty steps, advance gradually. With years of growth and accumulation, Xie Qi’s character can be seen from her painting with clue.
Xie Qi indulges her daily life into her paintings, tries, and practices her voyage from here to there. Bad girls do not go to heaven. Bad girls go everywhere, heaven too.
Dialogue between Monica Dematté and Xie Qi
Edited by: Xie Qi
Lao Mo (Monica Dematté), a well-known character in China, lives in a not so well-known village of North Italy – Vigolo Vattaro.
During the few weeks of my stay there, we watered the plants, mowed the lawn, climbed mountains and sang songs… but never did we mention anything about art, even less about my exhibition. We purposely didn’t even try to deepen the understanding of each other. Most of the time was spent walking in silence and waiting for rain to stop, which never lasts long enough. I know that at that time, the similarity of our personalities was sometimes blocking our communication.
The day before my departure, the will to acquire mutual recognition let us roll away the beautiful memories of our sightseeing and farming, and finally begin our talk about art.
Scenery of face X: Some of these are self portraits.
M: Can not tell…
X: They are, face sceneries, views of emotion.
M: What has driven you to make these paintings? Emotion?
X: Yes. This facial expression was done when I was very emotional, anxious and upset. The strength given by stability was missing during that part of my life. But the whole process of painting was completed in a relatively peaceful and ordered way, and I searched for a relation again and again.
M: What kind of relation?
X: The relation between color and emotion.
M: I can tell that you are very interested in color.
X: Yes, and I find that horny people are all very sensitive to color.
M: Are they? Er, I didn’t know about this. I feel that it is not very easy to get into your painting. You applied many layers and they are of large scale. It makes it difficult to identify them.
X: It is kind of a game; you need to spend time in front of them. Viewers may get to know them after finishing their cup of tea.
M: Did you try to be special when you were painting?
X: Yes, that was once in my mind but didn’t stay for long. It was like when we are climbing mountains, we constantly look for gaps between stones to step on. This repeating action always makes me feel passive and uneasy. It is not what I like, I like simply going forward and looking ahead.
Stories of others M: Do you ever try using other people’s story to express yourself and avoid pushing yourself to the front? And sometimes you get into other people’s story by doing so?
X: Dramatic things cannot happen to me. Stories have their own hero. The frequency of events happening in my life is very low. Due to the limits of my personality, the things that happened in my life can always be diluted. Actually, I don’t really care about what really happened.
M: What do you think is the most interesting part in your life?
X: My feelings, maybe. Some people may have experienced a lot but never did they think out of the box and ponder. For me, what I saw, heard, dreamed of and felt are part of the experience. I may feel deeper the story of someone else than the person concerned.
M: What do you expect the most to happen in your life?
X: An encounter or happy things, etc..
M: No big wishes?
X: I never think hard on this. Life will bring them on.
M: Don’t you ever feel unhappy that time flies away and you haven’t done anything? Are you always so calm?
X: I’m not calm, never have been. I just don’t like to show it. Tranquility is as embarrassing as the vision of garbage spreading randomly outside.
M: What is the reason of this restlessness?
X: Maybe too much desire and complication. I don’t have the ability to communicate and reach out.
M: Have you thought of letting some desires go?
X: I simply don’t want to be that restful. The status of being restless is quite interesting.
M: You calm yourself down when things are restless, and you get bored when things around you are too quiet.
X: We can put it this way: life is quiet but the self is not.
M: What did you want to get when you came here?
X: Never thought about it concretely. Maybe because here it is a totally strange place to me, and I don’t speak the language. It is a trip without a specific goal. You being here is a turning point for me, otherwise I wouldn’t have considered coming. I enjoy making plans, but almost all my decisions are made in hurry and quite randomly.
M: Take what comes.
X: Anyway, we will encounter different things and this is enough.
M: Those cute boys aren’t made for this trip.
X: Yep. They are on bike or motorcycle and never stop for a while. Those who do stop are already middle aged and got fat.
M: Hah, yes, they are.
Landscape of the body M: Let’s move on to your body series.
X: I like putting bodies in a home atmosphere, which includes randomly displayed underwear. It’s not like those pure, exaggerated, narcissistic bodies with squeezed out expressions; it is more like randomly picked bodies, also randomly displayed in a daily setting. They are in their solo dance. Lashed and disturbed by speckles of various kinds, they have endowed themselves with an affected sense of drama.
I like working on ordinary material, things as dull as daily life.
M: Why do you still have such important relationship with your parents, although you have been away from home for so long?
X: There are not so many important things in my life, not so many people either. The importance of somebody gets lost in time. I’m obsessed with their age. They are complicated enough, discomfited and they enjoy the happiness of their own. The body series gives expression to daytime – the male, and nighttime – the female. But the age has neutralized the influence of gender and reflects the up and down of power and its evolution.
M: Is light important to you?
X: Yes, light has tricks and does it please or not, cannot be ignored.
People living outside of my life M: How big is this?
X: 190×150cm, as big as a double bed. It is a deserted bed board. This is a beggar on the bridge, whom I pass by everyday.
M: Have you taken any pictures?
X: Yes. One day I paid her some money to take a picture of her. She knows nothing about taking pictures because she never took one. She has a small face and you can’t tell her age. You can’t tell if she is slow or what. Very polite woman, hometown must be in the north, maybe right in Beijing. The reason why she caught my eyes was her outfit. Yellow hat, green soldier suit, red shoes, such a good combination of colors. She put a Chinese jar next to her, and didn’t beg. She always looked down from the bridge when she woke up.
I’ve heard one saying – “Con Artist”, liar, beggar, night owl, cross-dresser… They actively use their wisdom (or simply take off the responsibility of a role), and increase the variety of society beside the restraint of order and moral.
M: What do you want to get from painting them?
X: Power, strengthen by soul. With the help of this power, I can get rid of some of the appeals of the outside world.
M: It seems that you are very interested in expressions. You enjoy observing others expressions.
X: Basically I find every face and every expression interesting.
M: Are you trying to make them see what they never thought of seeing by your creation?
X: Actually I don’t want to know what they are thinking by observing their expression. I have no intention. I very often just stare blankly. However, appearance and expressions are a such generous soil which automatically feeds our hungry root and they are like the film playing in the background, murmuring, but not eager to tell you anything.
M: Is this your self-portrait?
X: Maybe. This is a special friend, who makes a living in fashion, cures the self by cross-dressing every Tuesday. He is 180cm, wears a huge wig, and stands on high heels of 20cm, a giant from Aladdin. During his performance, those evil nasty words interweave with his heart breaking Big Art. Perhaps it was the connection between us two, we easily became friends. His pure desire, obsession to be extremely controversial in life, strong self expression and his black tears all over his face… everything of him excites me and lead to my series “ The Queen Fan”.
(Before I finishing sort out the conversations we heard the tragic news that she past away…my muse, is it just some sort of joke of yours? Now those pictures were so lonely and depressed…we only can see the shine, but can’t see the shadow.)
Melancholic Sex M: Why did you start drawing those small pictures?
X: Small size pictures and cheap productions can make me survive the economical depression.
M: What is it about?
X: Sex and depression.
M: Do you think that the Chinese audience and buyers can really accept that kind of stuff?
X: They couldn’t resist!
M: Maybe you could make it a little bit simpler so they could understand a little bit better.
X: But I think the simplicity should come forward naturally, I’m not in a hurry at all. I like it that way, I will always rather put my ideas at the first place and release them.
M: I agree with you, what I mean is that you are still waiting, but waiting is a long process.
X: Artworks should have hesitation, narrow ways and torture, but I love the way I’ve been tortured and I believe in keeping it real. It’s just what human should do..
M: No matter what people you meet, or what happens in your life, it should be all in your possibilities; if there is anything out of your possibility, it’s just none of your business.
X: The fact you don’t have to worry about all kinds of problems is pretty interesting, -you like your life to be clean and all you have to do is just trying to subtract things?
X: But you don’t really look like you’ve been subtracting, you look pretty fancy though..
M: No I ‘m not! I think spiritual things are more important.
X: What kind of art do you really care about?
M: None, I do not care about any kind of art.
X: Then what do you care about?
M: I care about humankind…I am not a psychologist, what is inside is too painful to watch, I just want to learn more about the meaning of our lives.
X: I am a contradictory person; still I do not want to fall into the traps of our lives.
M: I’m always talking about subtraction, I’m still very curious, I do not want to leave anything behind, I like to enjoy every possibilities of my life.
X: So you do not want to put yourself under the bright light?
M: I’m just trying to express myself through other people.
X: I express myself by painting their portrait.
Monica put herself in the background during the conversation, but to be cautious, I don’t want it to be very “excited”, but I browned my skin and having a great adventure back there; walking on a very dark road under the moonshine, chewing chocolate on a altitude of 2430meteres, listening to the Dante’s inferno for 2hours (I didn’t fall asleep, but I don't understand any of it…）．
还有比“钱”被附加了更多意义的对象物吗？如同“灵魂”、“劳动”、“性”或“爱”一样，它描述着人的基本存在。纯粹物质符号本身是精神的辩证对立，与之相应的是意志、欲望、梦想或罪恶。 “钱”比其他概念更为确定而具体。它当下的形象是一张纸币，聚满政权与地理标志，意识形态与习俗洋溢其中，文化和语言镌刻其上。钞票，塞满密不透风的意指，烂熟的形象。 玩弄一个涵义过于直白的题材？无论讽刺或象征之意都直白到庸俗。这是提问者的疑虑吗？
我们每天接触的最熟悉的物件从来没有如此陌生。一种目光起了作用。我似乎理解了她对达 · 芬奇的兴趣。她总能从更古典的绘画中思考绘画本身。绘画许诺了哪怕到今天都未曾挖掘殆尽的自由。天生的画家对此心领神会。在他们那里，绘画永远不会失去魅力。不必转向装置、观念。观念层面的深刻体悟并没有让她放弃架上，因为哪怕像钞票这样的刺手题材，她仍能赋纯粹绘画的自由与美。在她笔下，既有的意义冻结碎落。如同亚当受上帝的旨意给万物命名，命名的乐趣，这是游戏的初始。而重新命名，从已有的意指符号中突围，意味着更为艰难的摧毁与重建。制定自己的规则，去这样使用色彩，特别是她喜爱的各种调子的绿色，在浓浓的油彩中隐没造型，让它随着距离一点点现身。多么自由，随自由释放的不只是情感，还有让画面的每一寸都恰当而准确的理性。