Almighty painter

Chapter 795 Love between Two People (Part )
Once you think about the problem from this perspective, you will see love as a source of pain rather than happiness.

The world became sadder than ever before.

Gu Weijing stood among the tourists. The faces around him that seemed to be chatting and laughing all had an undertone of pain beneath their smiles.

The lust between men and women, the friendship between friends, the affection between parents and children, they seem destined to bring pain from the moment they are born.

Are the happiness of this moment and the pain of the future two sides of the same coin?
In Italian society, what is the probability that a boyfriend and girlfriend can be faithful to each other, from meeting to falling in love, to getting married, and can hold hands and never separate no matter what the circumstances, whether they are rich or poor, sick or not, and finally go to the grave together?
Gu Weijing didn’t know the exact number, but based on his stereotype, that might not be a particularly high probability.

Before that, he stood in the corner looking at the couple kissing in front of the clock, his heart filled with longing and blessings.

Think about it this way.

Gu Weijing also felt that their sweet kiss at that moment might be a preview of the bitter tears in the future.

How could he even know that, at that moment just now, in the still photo of the smiling and kissing, the young man and woman staring into each other's eyes, did not see the pain blooming in the depths of each other's eyes?

Because of love, people become vulnerable and hurt.

Think about it, people can be independent individuals.

Gu Weijing could have just flown to Singapore that day instead of walking into the Xihe Association.

But he had to do it.

He loves Gu Lin. Even if he doesn't love Gu Lin that much, he loves old man Gu, and he has to consider his old man's feelings.

in contrast.

If this had happened to another person, even to his father who had left him in Rangoon to start a new life in France, he would not have been so miserable.

He abandoned Gu Weijing, abandoned his love, and also abandoned the ability to hurt him.

People could have lived like unrestrained wild animals, but love makes people lock themselves in a cage, turning the endless vast world into a crystal ball that must be held carefully.

Love--

It is like the clown in the circus who wields a whip and makes the powerful lion go through a ring of fire while holding a crystal ball.

The young man's expression was filled with the same sadness as the Buddha sculpture in the scroll behind him.

In this exhibition hall, how many of them, parents leading their children, men and women holding hands, friends standing shoulder to shoulder, will drift apart, become strangers to each other, separate, never see each other, and even become the source of pain for each other in the many years to come?

In Picasso's works, the woman he loved most, his beloved wife, went from being the source of his happiness and the muse of his inspiration to the source of his pain and the demon in his life... This huge emotional change took less than a year.

When Van Gogh met Gauguin, they were so inseparable and ecstatic.

They all thought they had met a soul mate.

By the end of the story... the breakdown of this friendship is considered one of the most likely reasons why Van Gogh shot himself in the head.

"How can they endure all this? How can people endure all this?"

Gu Weijing walked forward and kicked his feet lightly.

The happier and more blessed the people around him are, the sadder he becomes when he thinks about the pain that may be caused in the future.

The sun shines down from high in the sky.

Gu Weijing saw the shadow on the back of the coin.

……

In the following time, Gu Weijing became much more gloomy. Whenever he saw the paintings about "love" in the exhibition hall, he wondered whether he saw the root of pain.

The stronger the love, the more people it affects, the more vulnerable people become, and the closer they become to the cage of unfreedom.

The mermaid Seren's singing is so beautiful that it tempts the ship that has lost its way to lose control and crash into the reef. Is this a good thing or a bad thing?
On the contrary, those paintings that are not very emotionally intense and not closely related to love can bring pure visual pleasure to Gu Weijing. It is enough to simply appreciate the exquisite brushstrokes without having to think about those grand issues.

The most typical example here is the center of the second-floor exhibition hall, where CDX Gallery has specially dedicated a work for the Lion City Biennale, the Bukit Timah painting on Bukit Timah Hill.

[Title of the work: Bukit Timah]

[Sketch Technique: Level 7 Master Painter Level ]

[Oil painting technique: Level 7 Master Painter Level ]

【Emotion: Feelings】

Bright blocks of color fill the canvas, and there are almost no lines in the picture. To be more precise, the artist who created this work gently hid the ubiquitous lines in the shape of the blocks of color. He showed great imagination, and the lines wrapped in color are like muscles wrapping bones.

The painter showed off his unique skills to the people around the booth without any shyness.

Suddenly I heard that there was a fairy mountain on the sea.

The mountains are in the void.

If an experienced and discerning art lover stands in front of this work, he can find the bones and tendons of the brushstrokes in the colorful colors like an X-ray, and discover the Bukit Timah Hill hidden in the colors that cover the paper like clouds.

Gu Weijing is an experienced art lover with a keen eye.

When it comes to art appreciation, he is far inferior to Anna who stood here yesterday.

Gu Weijing was better than others in that he once had the same unique skill when he painted a picture.

People who fly over the mountains like birds can more deeply appreciate the feeling of soaring into the air and flying through the clouds than people who watch birds fly over the mountains.

This Singapore Biennale cannot be called a gathering of masters, but it can at least be called a gathering of strong artists. The artists who can be promoted by CDX Gallery to compete for the title of this Biennale, and even fill the vacancy in the ecological niche of the gallery once Tang Ning leaves, are unlikely to be simple people.

Even if you pick up two mouthfuls of leftovers that a top master doesn't want, to be able to swallow it requires a broad mind that is not comparable to that of ordinary mortals.

Even before using the calligraphy and painting appraisal technique, Gu Weijing had already realized that this oil painting named "Bukit Timah" was a true master-level painting. In terms of the technique of the work alone, it was higher than "The Hustle and Bustle of the World", which barely passed the Lv.7 threshold with the help of a small candle blessed by the Muse.

The use of flash photography is prohibited in non-check-in areas of the exhibition, but taking photos is not prohibited.

People kept raising their mobile phones and using the cameras to record this painting with exquisite shape, design and brushstrokes, most of them with smiles on their faces.

Gu Weijing subconsciously compared this painting "Bukit Timah" with his painting "Human Noise".

This painting, "Bukit Timah", has the largest central stand on the second floor of the entire exhibition.

In a few days, his "Human Noise" will also have the largest special booth on the entire exhibition floor.

So which painting is better in the minds of the curators, judges of the organizing committee, and the audience who come and go at the Biennale every day?

Gu Weijing wanted to say that his paintings were better.

But he hesitated.

Strong? What is strong and what is weak? In a boxing ring, when a person is knocked down by a punch, the person standing is the stronger person, and the person who falls is the weaker person. In a war between countries, the victorious party is the stronger party, and the losing party is the weaker party...

All of these evaluation criteria are clear, simple and direct.

But in the field of art, what should be the correct standard? Price? Picasso's and Van Gogh's works are both sold for $3000 million. Whose paintings are stronger and whose paintings are weaker? Cao Xuan and Wu Guanzhong, the top works have reached the height of $ million. Whose achievements are higher and whose achievements are lower? Even if the prices are different, is a work worth million definitely stronger than a work worth million?

He spent more than a thousand dollars to buy the painting "Old Church in a Thunderstorm". Yesterday, the female manager of the painting wrote him a check for 300 million euros. So, in a few months, Carroll's paintings suddenly became 3000 times stronger.

It shouldn't be like this.

Are they competing in technique? Technique has never been the only criterion for judging modern artworks. His “Human Noise” and the “Bukit Timah” in front of us are similar. If we really put them on the system panel to compare the values, he might lose a little bit. Does this mean that he lost?

Gu Weijing also felt that this was wrong.

He believed that the intensity of emotion he poured into "Human Noise" was not comparable to this "Bukit Timah". It was much more difficult to get an emotional rating of "brilliant writing" than to get thousands of free experience points.

Gu Wei went through many hardships, tests, life and death, and overcame unspeakable difficulties before he finally painted this picture.

But does this mean he won?

It seems a little off.

This means that Gu Weijing's paintings are more difficult, and that many artists may never reach such an emotional level in their lifetime. But if you say that this means it is "stronger", it always feels like there is a layer of unshakable deductive logic missing. Just like the prince and princess teaming up to defeat the devil, it is equivalent to the prince and princess living a happy life, which is also a bit off.

There are always too many things in life that seem to be natural and taken for granted, but in fact cannot stand up to scrutiny.

People who come to the Biennale to get a moment of respite and happiness in their busy lives, when they come to the Esplanade, do they really expect to see such a depressing work?
Why not cast tens of thousands of cans into a tin mountain, place a simple painting on the tin mountain to give people a visually pleasing work, and shout environmental protection slogans at the same time, which would also be a very good thing.

Even he himself was thinking about those heavy topics, and he felt dizzy from thinking so much that he ran here to seek a moment's respite.

Gu Weijing felt more and more confused.

He has always approached his work from the perspective of how to paint a picture and as an artist participating in an exhibition. Now, when he changes his perspective to that of a visitor to an exhibition and looks at the paintings on the stand from the perspective of a spectator, he sees something different.

In the art world, there seems to be no golden standard that can prove the quality of a work.

Even if he printed out the contents of the calligraphy and painting authentication technique and gave one copy to each judge, there would still be a lot to say from the perspective of CDX Gallery.

What's wrong with having a brilliant writing style and strong emotions?

An art exhibition is not a game of comparing the sizes of apples. Stronger emotions do not necessarily mean more worthy of an award.

People admit that it is a very good thing and it is amazing to be able to create such a work, but this is a Biennale. Gu Weijing's work is impressive, but what's the use of ordinary people being impressed by a young man sitting on the sofa!

For the fate of the entire human race, environmental protection is a more important topic that deserves more attention.

Wouldn't it be more meaningful to award this painting a gold medal, let it win the crown, put it in a museum, have it reported all over the world, and let a thousand people who remember it recycle beverage cans and throw them into the trash can in the afternoon than to let ten thousand people remember the creepy image of a half-dead young man sitting on the sofa in their minds for the next year?

At the right time, a piece of white paper or a ball of air can be worshipped as a sacred object by the art world and hyped up to the altar.

This statement is often used to satirize the large amount of bubbles in the art industry, but it is not just a satire.

under certain circumstances.

A piece of white paper and a ball of air may indeed bring more thoughts to the world than a Rococo painting of a beauty surrounded by flowers and full of spring.

The most important work of art in the past century might be Picasso's Guernica, or one of those colorful splotches of Pop Art, or maybe it was just the men's urinal that Duchamp carried to an art exhibition.

Gu Weijing thinks about love and art.

He felt like the answer was right on the tip of his tongue, but for a moment, he couldn't say it.

The young man stared at the Bukit Timah in front of him in silence, like a cat staring at a ball of wool that it couldn't sort out.

……

Mi Rochor Hotel, Guest Service Department Pet Sitting Centre.

The fat cat, which was as big as two ordinary cats, gave a "powerful jerk" and fiercely pushed the ball of wool at its feet aside, causing the feeder outside the glass wall to let out a small exclamation.

When a customer left today, he entrusted the cat he brought with him to the customer service department. He heard that he would take the cat for a physical examination later, so he didn't need to feed the cat, just provide clean water. Since arriving at the cattery, this cat has occupied the warmest position in the sun inside the glass wall, like an emperor, enjoying the offerings of the little brothers around him and all the cat toys around him.

Awang stared at the young man who was stunned by the beautiful cat outside with a domineering look as if to say "What are you looking at? If you don't feed the cat, I'll beat you instead later."

Then, surrounded by two new little brothers, he strolled to the side of the wool ball.

"Meow?"

The tabby cat used its claws to poke at the thread on the ground. Somehow, during the rolling, the ball of wool rolled away without being firm.

……

Gu Weijing was still staring blankly in front of the Bukit Timah Hill-shaped sculpture booth at CDX Gallery.

Suddenly, I heard a small, chaotic sound from a little further away.

He turned his head to look, and coincidentally, he ran into the foreign couple who were standing in front of him when he just entered the exhibition area on the first floor. At this moment, he saw the young mother and her child who were standing behind him on the second floor.

Two people were standing in front of a platform.

The child wanted to reach out and touch the protective glass on the outer layer of the exhibition base in front of him, but his mother pulled his hand and stopped him from touching it while gently scolding him.

The subtle noise that Gu Weijing heard in his ears came from here.

He walked over to the two men.

"Do you like this painting?"

Gu Weijing smiled at the young mother as a greeting, then squatted down and asked the child in front of him.

"I'm sorry, the child is young and naive, and quite noisy..."

The woman saw the artist badge on Gu Weijing's pocket, but she didn't stop him. Instead, she explained softly with an apologetic look on her face.

“…Are these your works?”

"Well, they are detective cats, drawn by an anonymous illustrator." Gu Weijing answered the mother with a chuckle.

As soon as he arrived on the second floor, he noticed that the booth here was where the twelve cat watercolor paintings he created for Jane Arnold Illustration Studio and London West End Musical Company were displayed, based on well-known musicals and T.S. Eliot's poems.

"Little friend, can I ask you why you like these works?"

Gu Weijing turned his attention back to the child in front of him.

He wanted to know what ordinary people got from their works and why they couldn't help but want to touch his booth.

Gu Weijing certainly knows how excellent these works are in terms of difficulty.

He believed that Mr. Wattl of Fitz International School and Mr. Samuel Cozens, the director of the campus art program at the Hamburg Academy of Fine Arts who had sent him an admission letter, would definitely like these watercolor paintings.

The perfect level of "real world" watercolor technique gives Gu Weijing's watercolor brushstrokes near perfect details.

Their love is like the shock and joy that a mountaineer feels when he sees the towering peak breaking through the clouds while climbing a snowy mountain. Any experienced adventurer will be conquered by the magnificence and beauty of Mount Everest.

There is no other reason.

Because the mountain is there.

He believed that Miss Koko or Mr. Sloth would also like watercolor paintings.

The stories told by Koko and the voice of Mr. Sloth reading poems to him together make up these works.

Their love is the irrepressible affection of one heart for another heart that is in tune with theirs. They can easily feel the weight of these watercolor brushstrokes. They can also easily feel the heat and temperature of the colors that make up these cats' bodies.

There is no other reason, because they are part of the soul of the painting.

Whether it is the watercolor painter's love or Mr. Sloth's love, this kind of love is too technical.

He suddenly felt curious.

An ordinary person, a child who has not yet truly understood the world, what did they feel and gain from their works?

(End of this chapter)