Xie Yuanqing

Xie Yuanqing's "Fat Man" sculpture has lasted for over 20 years, dating back as far as his junior year of college.In 1998, Xie Yuanqing created a sculpture titled "Fat Man Tumbling" under the influence of Colombian artist Botero. Influenced by the Colombian artist Botero, Xie Yuanqing created a sculpture titled "Rolling Forward and Backward" under the title of "Fat Man's Tumbling", which won a prize in the provincial exhibition and was selected for the national exhibition, and then in 2005, in order to participate in the Sports Art Exhibition, he again took the language of volume as the entry point and began to create the "Slender Yoga" series of fat men. In 2005, in order to participate in the Sports Art Exhibition, he again took the language of volume as the starting point and began to create the "Slender Yoga" series of fat men. From there, he moved on to the "Kung Fu Series", "Hero Series", "Head Series", and then to the "Tree Man Series" and From there, the "Kung Fu Series", "Hero Series", "Head Series", "Tree Man Series" and "Up Series", the ideas have been advanced and the spiritual aspects involved have been widened day by day.
As the author says, the fatness of the figures in the work is a metaphysical reference to "excess," "expansion," or "inertia," rather than a metaphysical realistic representation of the human body. It is both an irony, a mental sugar coating set by the artist, and an intensification of the sculptural volume and a stylized expression of his personal artistic language. These works show his good academic education and modeling ability, and at the same time, together with the humorous mood, they form a sense of "light as heavy", which is not only the author's metaphor and care for the present time, but also reveals some self-examination of the artist, who once said, "Since the time has shaped us, we also He once said, "Since the times have shaped us, we try to shape the times" - the times and we are one.
When reading Xie Yuanqing's works, it is not difficult to find another layer of characteristics. He likes to find creative space in the cultural heritage of the East, and graft the Zen rhythm of the East with the modern temperament of the West, finding his own cultural support and charm in the language of contemporary art. Therefore, in his humorous and relaxed fat sculptures, one can often feel a certain Zen feeling and ease. Behind the humorous and relatable appearance of his works, there is a symbolic meaning of good-natured mockery, but deep down, there is also a sense of introspection and self-reflection, and the author's diversified artistic thinking and the expansion of his aesthetic character are thus quite clear.

Works