Almighty painter

Chapter 769: Arguing with Xiao Ming

Cui Xiaoming's tone can be described as straight to the point.

The smile was still there, and the tone was still respectful and polite, but when his lips parted, what was revealed was not just white teeth - a white knife?
It also showed up in the smile.

Gu Weijing was wearing his coat, standing by the wall, his hands lightly placed on the pockets at the bottom of his coat, and his reaction to Cui Xiaoming's words was very calm.

Cui Xiaoming didn't get the response he wanted again.

Put yourself in their shoes.

If Gu Weijing dared to make a casual comment on his work, the fire in his heart would immediately burn. If someone spoke in a critical tone about his painting style, or even the artistic path he chose... that would be even worse, much worse.

His painting style and his artistic path are what Cui Xiaoming is most proud of.

Any artist's artistic path is the foundation of their success in this industry.

Saying that they have made the wrong choice of artistic path is a very sensitive topic. If it gets out, it could easily ruin the other party's job and is enough to make even the best-tempered artist show an aggressive face.

Gu Weijing's reaction was too calm. He did not show the intense reaction he had expected, causing Cui Xiaoming's carefully prepared attack to test Gu Weijing's true appearance to fall into the air.

The smile he prepared was not met with a face full of resentment like a standing cat, and he felt empty and uncomfortable.

"What do you say?"

then.

Cui Xiaoming continued to show that gentle smile on his face, as if he was really seeking the other party's approval.

Since the other party had chosen the difficult path similar to his, which combined the two artistic styles of the East and the West, he believed that Gu Weijing must be a person full of artistic ambitions. He wanted to achieve great success, great fame, and great wealth in the art industry... Anyway, he must want something very, very big, and want his works to be displayed on a big stand in a big art gallery.

At this moment, his works were neglected by the curators. Didn't he feel disappointed and doubtful?

When his painting style was attacked, didn't he feel angry and suspicious?

Cui Xiaoming didn't believe that Gu Weijing could really be as calm and peaceful as he looked.

The indifference on the other person's face, just like the smile on his own face, shows that they are the same kind of people, chameleons with deep scheming who can hide their true emotions very well.

Cui Xiaoming felt uncomfortable with his calmness.

Just as he felt uncomfortable that Miss Elena, whom he wanted to please carefully, had left him alone in public, he went to look for Gu Weijing.

The more he mocked himself, the more he flattered others, and the more he pretended to be indifferent, the more he cared.

The thorn pierced deeper into Cui Xiaoming's heart, making him feel more uneasy.

He hated this kind of contrast.

Cui Xiaoming wanted to break through the quiet, gentle, sunny protective color on Gu Weijing's face to prove something?
What if he really wasn't offended?

The fact that he didn't feel offended even when his artistic path was attacked shows that he has no ambition.

An artist's heart must be filled with "spirit".

If he doesn't even have the ambition to achieve great success, he is even less worthy of winning.

Anyway, such people are destined to never reach the top of the industry and become the next Wu Guanzhong, Monet or Picasso. What's the use of having talent? They should just let themselves be stepping stones.

"Oh, I think most painters must be passionate about the artistic path they choose, otherwise, they would not persist in it and would not paint like this."

Gu Weijing thought for a while.

"However, if you ask me, it's normal if there are some minor problems that haven't been discovered," he said.

Mr. Sloth believes that the essence of nobility lies in fatigue and calmness.

It is difficult for people who yell and lose their temper to appear noble.

Anger means that you are offended, that you are powerless to change the current state of things, that you are the one who is controlled by things rather than the one who controls things, and that you are not strong enough.

Gu Weijing may not be considered to be "strong", but after going through so many things, people will always grow.

After rejecting Brother Hao, telling Miss Elena that "Elena's family should go to hell", and telling Tonks that he wanted to hug Van Gogh.

He knew that he still had that sensitive and sentimental side... it was part of his character, but Gu Weijing was no longer the young man that Tang Ning would casually say in an interview that he was just a mediocre person and that he would never be able to do what she did, and then she would fall into self-doubt and break down in tears by the lake.

Gu Weijing didn't know at the moment that at this exhibition, Cui Xiaoming painted a work similar to his "Good Luck Orphanage in the Sun" in composition and light and shadow, but with a very different painting style, and he also got a special exhibition booth with it.

Even if you know.

He probably wouldn't give an emotional response to Cui Xiaoming's questioning.

Compared with the strong evil aura of Brother Hao and the strong nobility of Miss Elena, what does this small verbal offense from a participating painter count as?

Gu Weijing wasn't even angry at this moment.

Instead, he was thinking seriously about Cui Xiaoming's words.

Father, like son.

Gu Weijing was not so arrogant as to create a completely new school of painting, or a painting style with a strong personal temperament, from scratch in just half a year.

Even in a painting style that has been perfected by predecessors, it is difficult to make positive changes of your own.

in this regard.

He is indeed not a true genius or psychic like Miss Shengzi.

Even though Gu Weijing felt that he was quite satisfied with the painting "Good Luck Orphanage in the Sun" that he handed over to the organizing committee, he could still capture some places in the work where the temperament had not yet been fully integrated.

That is the direction he will improve next.

What belongs to art belongs to art, and what belongs to Caesar belongs to Caesar.

Gu Weijing had a bad impression of Tang Ning, but her artistic skills were far superior to his. Gu Weijing had a very bad impression of Anna, but she was indeed well-informed and had a good memory.

These are the areas where they are better than Gu Weijing.

He acknowledged these shortcomings.

It is one thing to be cautious about Cui Xiaoming, but if this young painter who has deep insights into Wu Guanzhong's works can really point out the shortcomings of his paintings and give some constructive suggestions, Gu Weijing is very willing to take the time to listen, and he is also very willing to be grateful to the other party.

"piece of cake?"

Cui Xiaoming's signature long eyebrows were raised upwards once again.

"No, it's the Sutra." He said sincerely, "This is not a small problem. On the contrary, it is the most fundamental and essential problem."

Cui Xiaoming stared at Gu Weijing's face, moving from the left side of his shoulder and then from behind to the right side of his shoulder, as if a warrior was locking his opponent with his eyes, pacing in a semicircle around the target's body, thinking about how to attack.

"You say."

Gu Weijing tilted his head to indicate that he was listening carefully.

"Mr. Gu, you are a painter participating in the Biennale, and I am also a painter participating in the Biennale. It is normal for us to have differences in artistic ideas."

Cui Xiaoming smiled.

He switched back to English and resumed his normal speaking voice.

"I think there is something wrong with your painting style. It is normal for you to think there is nothing wrong with your painting style. It is not a matter of who is right or wrong, and it is also difficult to tell who is right or wrong. In this kind of matter, when two people argue, the husband is usually right and the wife is right. We are about the same age, so my opinion may not necessarily make sense, but I think Mr. Wu Guanzhong's opinion should always make sense."

Gu Weijing listened quietly and nodded, as if to confirm what Cui Xiaoming said.

There were tourists watching the fun nearby and they had already taken out their mobile phones to record the two people.

Visiting art galleries, museums, taking photos and checking in are now essential parts of the exhibition process.

There is no need to be secretive.

Nowadays, there are actually many tourists who visit art exhibitions simply to take photos, check in, and post on WeChat Moments, INS, and TIKTOK.

I make dumplings just for this little bit of vinegar.

In this regard, both Eastern and Western tourists behave the same.

Unless it is a museum that prohibits photography, there will always be a circle of people taking photos with their mobile phones in front of the display cases of famous collections in major museums around the world.

It's neither good nor bad, it's a fashion trend.

For this year’s Singapore Biennale, the official has set up a cultural and creative check-in area outside the Esplanade – Art Centre, next to the peripheral exhibitions.

Visitors can check in and take photos with those interesting exhibits.

Of course, you can also check in with some interesting people to take pictures.

Interesting people include celebrities you bump into at the exhibition, and theme dolls specially invited by the organizers of some art events to take photos with visitors. Artists participating in the exhibition? Of course, they are also included.

Two stunningly young exhibitors with great looks and temperament stood in front of the booth of the senior master and talked about art together. It was also a great opportunity to take photos and post them on TIKTOK in exchange for traffic and red hearts.

Someone just noticed that Gu Weijing was wearing the VIP badge of the participating artist on his chest, and Cui Xiaoming also had the temperament of a professional when he appeared.

It's so rare for two artists to discuss artistic style.
It fully satisfies the romantic imagination of the spectators about the life of artists.

As for the master lectures and academic discussions at the Esplanade, they are a bit too serious and too hardcore.

too long.

Sitting there motionless for an hour or two would easily be boring for ordinary listeners, and it would also be difficult to buy tickets.

They are more targeted at core fans, hardcore art lovers, and judges and experts in the industry.

This kind of street conversation between painters can perfectly satisfy the curiosity of ordinary tourists.

Simple and clear.

It is just like when tourists visit a temple, even if their original purpose is to pray, burn incense, and worship Buddha, when they pass by the main hall and see two monks debating, most of them will stop and listen to a few words, even if they don't understand, they will just join in the fun.

If the monks in the temple don't stop you, then it would be natural to take a short video.

Cui Xiaoming noticed that some international tourists kept looking at them, so he raised his volume and switched back to English.

Someone posted from the media?

It could not be better.

He is an expert at taking advantage of situations.

In the hands of an expert, falling flowers and leaves can all be turned into swords. The mobile phone cameras held high by tourists nearby can also be used to guide the situation and become bargaining chips in the contest between him and Gu Weijing.

If used well enough and the traffic is large enough, this short video of life shot casually from an outsider's perspective will be much more effective than spending resources on advertising for yourself in commentary media and writing marketing articles.

Cui Xiaoming has made up his mind to establish his artistic status by stepping on Gu Weijing.

So--

“Let’s start by winning the debate about art style.”

This thought flashed through Cui Xiaoming's mind, and the smile on his lips was rare and sincere.

"It is a sutra."

His voice had that confidence and authority again when he talked about art.

“What did you see before this work?”

"White walls, blue bricks, willow trees, small bridges, flowing water and houses." Gu Weijing thought for a moment and added, "Elegant and light, colorful."

Mr. Wu Guanzhong's oil paintings often use extremely restrained color settings.

When he first looked at it, he felt that the painting looked like a traditional black and white freehand style.

But on second glance.

Gu Weijing can immediately perceive the lively dynamics in the picture. On the elegant base of the picture, there will be several colorful dots distributed on it, which is a bit like the meaning of Impressionist pointillism, but the number of color spots is much sparser and more restrained.

They are the willow leaves on the branches, a red mark under the eaves at the bridgehead, and a coin-sized light yellow ink mark on the rockery.

Gu Weijing could imagine him as a red lantern, an upside-down Chinese character "Fu", corn hanging in the windows of ancient towns and villages waiting to be dried, or a girl in a red cotton-padded jacket, or the spring jasmine flowers peeking out from the cracks in the bluestone between the mountains and fields.

The painter did not just casually put a few dots of color on the canvas, but casually put one body after another on the canvas. In each body, there flows the spiritual core of "beauty" that is abstracted.

This painting is fluid.

Those color dots can also flow.

A simple dot of color, as if the painter treasured the paint like a treasure, put it away "stingily", unwilling to continue painting, to appease Gu Weijing's curiosity. But after looking at it for a long time, he felt that the dot of color itself could change infinitely, and the various changes made people feel elegant and natural.

Just say it.

Gu Weijing felt that this was similar to the pointillism of the Impressionist painter Seurat, but also very different.

Wu Guanzhong's painting style.

It is not that the entire painting is composed of color dots, but one or two color dots are flexibly placed on the background of a large ink painting.

It was like a bright red carp swimming into the water.

It is difficult for Gu Weijing to fully summarize this strong visual beauty and personal style in words.

So he felt that Cui Xiaoming's comment just now about "fish is the artistic spirit of water" touched his heart.

Therefore, Gu Weijing said that it is elegant and simple, yet colorful.

"I can't say there's anything wrong with your evaluation, but I think your vision is too narrow." Cui Xiaoming seemed to have something in mind already.

"You are talking about the art, not the Tao."

Cui Xiaoming noticed the puzzled expressions on the faces of the foreign tourists around him with his peripheral vision. He knew that unless one was a scholar specializing in Oriental art or someone with a background in Sinology, it would be difficult to quickly understand the meaning of the word "Tao".

In his mind, debates between artists should be elegant and not necessarily understandable to ordinary people.

Otherwise.

Cui Xiaoming still wanted to let the tourists around him understand that his artistic concept was far more advanced than Gu Weijing's.

At least let them know how powerful they are.

After all.

What happened at the banquet last night deeply hurt Cui Xiaoming's self-esteem.

He didn't know what means Gu Weijing used to win Miss Elena's attention, and whether he really won her favor.

But he hopes.

If the argument between him and Gu Weijing today could somehow reach the ears of the manager of Oil Painting, it would make the other party realize that Gu Weijing was just an imitator of painting style.

Between the two of them, Cui Xiaoming was the one who had gone further on the artistic path, had higher ambitions, and was more worthy of her favor.

People are afraid of comparison.

His momentum was no match for Miss Elena, and he was left there with just a gesture from her, not knowing what to do next.

Is his aura not as strong as Gu Weijing, the guy opposite him who is younger than him and comes from a remote village?

Suddenly, he used a way of description that had less cultural barriers. It seemed that he was talking to Gu Weijing, but he was actually telling the meaning of his words to the cameras filming around him.

"You're talking about the appearance of the brushstrokes, not 'How,' 'Why,' 'Way,' or 'doctrine.'"

Gu Weijing did not reply.

His eyes fell on "Water Village People", and his attitude was still gentle and tolerant, not arguing with others.

Cui Xiaoming is still laughing at this moment.

The feeling of his smile changed.

His humble attitude turned into a confident smile of a senior who is directing the world in front of the camera.

"This is also the problem with your painting "Good Luck Orphanage in the Sunlight", which focuses too much on technique and ignores style."

“Style is the soul that carries the brush. White walls, green willows, black roofs, winding bridges, these are just very straightforward understandings. The colors on the picture are just accessories attached to the style.”

"In this painting, I see black, white, gray, red, yellow, green, dots, lines, and surfaces."

Cui Xiaoming spoke.

"Black, white, gray, red, yellow, and green. They are just representations."

“This combination of points, lines and surfaces between Chinese and Western painting is the essence of fusion painting, and it is the ‘How’, ‘Why’ or ‘doctrine’.”

Cui Xiaoming's own work style tends to be of this point-line-surface style.

therefore.

From this perspective.

His paintings are indeed closer to the presentation style of "Water Village People" painted before his death than Gu Weijing's paintings.

(End of this chapter)