Pang Yongjie

Pang was born in 1968 in Dongming, Shandong. 1990 graduated from the Arts Department of Shandong Normal University, 1991-1993 learned in China Central Academy of Fine Arts, now working in Beijing Songzhuang Art district.

Some people say that Pang’s paintings are in smooth, stylized techniques, large area color laying, dispelling the traditional interpretation of the meaning of the characters, the atmosphere and modern techniques. The soul of figurative and human portrait, direct, honest, brave to the viewer, and spiritual resonance. Appreciating his works is like bathing under the sunshine of the concept art, feeling the perceived simplicity, pure and ethereal elegant……

During his childhood, Pang lived in rural areas, where have no concept of art. Since he was young, he has been in control of a village and New Year series paintings and calligraphy. In Primary school, since a young teacher drew a plum with a pencil and gave it to Pang, he became out of hand: the students’ books are full of his paintings, and he even helped his mother to drew the flower style on the surface of embroidery paintings for children. He made up his mind on being admitted to university by painting when he was in high school. Thereafter, he was admitted in Shandong Normal University and was assigned to work after graduation. However, there is no place for him to work, finally he was assigned to a primary school to ring the bell, which is not his wish. Thus, he ran away to Beijing for further education and development.

After majored in realism at China Central Academy of Fine Arts in Beijing for two years, Pang gradually found he was unwilling to paint a fancy but repeated immutable and frozen picture. So that he went to stay at the Old Summer Palace painter village, where he made a mutation of his work from realism into expression. After having a child, when his life was about to settle down in stability, however, coincided with the government to ban the Old Summer Palace Painter Village, he created a series of works of Old Summer Palace during that period. In spiritual, he pursued more of human freedom. After this period of life, his in his works in the use of lines slowly to simplify the performance in the form of a transformation step by step.

At the age of 40, Pang was more minimalist form of love, he created the constrained no gender image with few pens of outlines of the female like but none female. Pang’s paintings show us joy by various modality of the human body. The body on the canvas or isolated or near the ground was solemn and quiet, and mutual winding and closely embracing, different modality between them, like a symbol is placed and downplayed in the scene. Pang holds the view that art can transcend religion, it can make no division between people.