Artist Shi Jinsong has proved hard to pin down in words. At least, that is how it might appear to anyone in search of introductions to his work. Through what is now more than a decade-long career, very little in-depth analysis of his work either as praise or as criticism has been committed to print. It is curious because it is also clear that this is not a reflection of the art world's indifference towards Shi Jinsong's art--his work is both widely represented by galleries and in collections, and in demand for exhibitions. Rather, it says more about the critical moment in which he emerged: in terms of practice and style, it was, in China, an era of pluralism in materials and of forms. Further, artists found themselves provided with endless possibilities as the nation's economy boomed and market forces placed a pool of skilled labour and modern technical processes at their disposal. Afforded these advantageous circumstances, Shi Jinsong's work has been flashy and it has been sombre; it has been grand and it has been understated; it has been sublime and, on occasion, unremarkable. Pieces have appeared in many interesting exhibitions and Shi Jinsong has a number of solid solo exhibitions to his credit, but since the forms of his art works are diverse, viewers at times inevitably struggle to connect the artworks with their creator.
Of course, this points to a highly contentious situation: that in today's world, against ever increasing commercial pressures and the broadening scale of the art world, those artists who are active on the international stage are insidiously encouraged to brand their work with a recognisable stamp; or if not, to face the consequences. Though he does not explicitly eschew branding per se, the visual or formal variances in Shi Jinsong's work do act as cosmetic diversions from the core ideas they contain. Beneath the surface there is clear evidence of continuity in thought and substance. Still, Shi Jinsong rather sits on the horns of this dilemma for his art does not conform to any particular school or "ism". He is hard to pigeonhole - pigeonholes being by far the easiest way of dealing with artists today. A recurring motif or "logo" is a useful aid to public and critical memory, but, thus far, Shi Jinsong has not arrived at one.
If not, to face the consequences. Though he does not explicitly eschew branding per se, the visual or formal variances in Shi Jinsong's work do act as cosmetic diversions from the core ideas they contain. Beneath the surface there is clear evidence of continuity in thought and substance. Still, Shi Jinsong rather sits on the horns of this dilemma for his art does not conform to any particular school or "ism". He is hard to pigeonhole - pigeonholes being by far the easiest way of dealing with artists today. A recurring motif or "logo" is a useful aid to public and critical memory, but, thus far, Shi Jinsong has not arrived at one.
