SINGAPORE — Many Chinese artists have embraced American pop culture and fused it with social realism to develop their own artistic style of social and political commentaries on the fast-changing Chinese society. Among the crowd, however, Zeng Fanzhi stands out for the introspective nature of his work, which often reflects his personal life and emotions. From the red scarves - a symbol of achievement in Communist China, something he yearned for as a child, but never got - to his famed 'Mask' portraits, his take on Chinese society in the mid-'90s, Zeng's work has always portrayed his own feelings.

The Beijing-based 43-year-old artist was recently in Singapore for the opening of a major retrospective of his work. In an interview, he pointed out, with the aid of a translator, that the ideological changes in China have clearly influenced him, but his work remains personal: 'I grew up in the environment of the Cultural Revolution and all these ideologies take a lot of space in my mind, but when I paint I just want to portray my inner feeling and the people around me. I've never been interested in my art becoming symbols of political ideas.' In the current frenetic Chinese contemporary art market, where many artists are happy to stick to a working 'formula,' Zeng frequently alters his work and style. 'Idealism' - running at the Singapore Art Museum until June 3 - shows Zeng's artistic evolution through 36 paintings that have been chosen to reflect his entire body of work, from his graduation piece in 1991 to several new, never-exhibited paintings. 'We chose the theme of idealism because there is a certain celebration of ideals in many of his works, yet a certain sadness it might not be achieved,' said Kwok Kian Chow, the museum's director.

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Halo Combat Evolved Anniversary Pc Version Download. Zeng, who was born in Wuhan in Hubei Province in 1964, during the Chinese Cultural Revolution, said that his family encouraged him to take up painting 'to keep him off the street.' While at the Hubei Academy of Fine Arts, he studied German Expressionism, which would have a strong influence on his work. The expressionistic style of his 1991 graduation piece, 'Hospital triptych No.

1,' with its wild strokes and fleshy colors, attracted the attention of the Chinese art critic and curator Li Xianting and was selected by Johnson Chang of the Hong Kong-based Hanart TZ Gallery to appear in 'China's New Art, Post-1989' at the Hong Kong Arts Centre, a 1993 exhibition now famous for having brought several new contemporary artists international attention. 'I lived next to the hospital and because my house didn't have any toilets I had to use those of the hospital everyday. What I saw there left a strong imprint on me,' said the artist, who used these memories for his Hospital series, which portrays doctors and scared patients in operating theaters and emergency rooms. His second series, the Meat series, was also inspired by everyday experiences. Passing by a nearby butcher, he often saw workers laying on top of the frozen meat to cool down and sleep during hot summers. The artist remembers intense, mixed emotions: 'Some feelings were of hunger, because I was hungry in those days, others were of horror, as the blood of the meat would stain the people laying on them.