The Versatile Master Artist

Chapter 148 - 103: Soulmate

"You’re referring to the Lion City Art Exhibition, aren’t you?"

Curator Tangkis smiled, seeing through Gu Weijing’s intention.

"Yes, I am indeed a bit interested in the Lion City Art Exhibition. If it’s inconvenient for you to talk about it, then never mind." Gu Weijing felt a bit guilty about trying to get insider information.

"There’s nothing inconvenient about it... Um, Mr. Tree Sloth?"

"I’ve temporarily stopped the recording."

Anna, understanding the nuance, said, "This conversation will remain between the three of us in this chat room. If it’s inconvenient for you, I can leave."

"That’s not necessary."

Curator Tangkis wasn’t really concerned about confidentiality.

It was just that some discussions were the result of internal committee meetings.

Moreover, topics like art styles are sensitive, and in principle, curators like them should treat all art styles equally.

Therefore, topics about aesthetic preferences can only be discussed privately, not suitable for early public broadcast.

To put it bluntly, it’s really not some big secret.

The preferences of the committee are not difficult to discern for those international Grand Galleries and leading art agents in the industry.

Insider information has always been a part of the art market.

It’s just that for an online illustrator like Lady Detective Cat, who lacks connections, she’s trapped on an isolated island of information.

Talented painters gain respect wherever they are.

Whether it’s the ability to appreciate art or the skill in drawing sketches, Curator Tangkis quite admired him.

The curator didn’t have any personal vendettas like Van Doorn does with Lady Detective Cat.

He didn’t mind giving them a few pointers.

If an excellent piece of art could be added to the exhibition he planned, it would reflect well on Curator Tangkis as the curator.

"Today’s art styles are as inclusive as the Sea of All Rivers, allowing a hundred flowers to bloom. In principle, the committee welcomes submissions from all painting styles. However... this is, after all, a public exhibition. From an exhibition effect standpoint, we hope that there will be some works that can move the ordinary audience, at least with something substantial to say."

Curator Tangkis blinked, "You understand what I mean, right?"

These words sounded magnanimous, but Gu Weijing understood the underlying implication.

Mr. Curator’s translated meaning was—if you’re not famous, let’s stick to painting traditional artworks.

Try not to always think about being unconventional, engaging in conceptual or postmodern art styles.

This is also very understandable,

as postmodern art is particularly known for being hard to decipher.

An artist like Newman can sell a blank sheet for several million US Dollars, Duchamp can send a urinal to be fiercely fought over by museums for collection.

The premise is that they are already renowned artists.

If Gu Weijing tried the same, he’d likely be thrown out as a lunatic.

"Secondly, I believe the emotional impact of a piece is more important than just painting skill. Even if a work is not technically skilled, if it has enough emotional impact, I’d be willing to select it for my exhibition. Any piece that leaves an audience feeling awe-struck becomes the highlight of the exhibition, receiving such a work is a curator’s fortune."

This was a discussion about emotion.

Gu Weijing recalled previously browsing through the electronic art volumes of past Singapore Biennales and seeing an oil painting called "Fisherman" by a Venezuelan artist, at best executed at a student level in terms of brushwork.

It relied on achieving a level of [Heartfelt] emotion to successfully enter the main exhibition of the master group.

And a work that leaves one feeling awe-struck...

Gu Weijing first thought of Elder Cao’s "Buddha Worship and Protection Painting."

To awe the audience, it should at least achieve an emotion assessment level above [Sweat and Blood].

Even the piece "Old Church on a Stormy Day" only received a [Heartfelt] evaluation.

"Then there’s innovation."

Curator Tangkis smiled.

"Innovation is an often-discussed topic. Every art exhibition loves innovative works, innovation is the driving force of art progress, and it’s a great bonus."

"But... didn’t you say you don’t like postmodern styles?"

"Lady Detective Cat, I never said I don’t like postmodernism."

Mr. Curator immediately corrected.

One shouldn’t act maliciously, but it’s important to be cautious. No matter what’s on his mind, Curator Tangkis wouldn’t leave any evidence of bias against any art style, especially in potential recording situations.

"Oh, sorry, that’s not what I meant."

"No worries. But it’s not just certain trendy art styles that count as innovation. If you can transcend the conventional molds, offering the committee’s judges a refreshing sense of surprise, that’s also a noteworthy highlight."

Curator Tangkis considered for a moment: "If you still don’t understand, I’ll give you an example."

"A couple of years ago, Peter Crow’s ’Starry Night’ at the New York Art Exhibition was quite good. Theoretically, the art exhibition requires fully original works. That piece obviously had traces of Van Gogh’s ’Starry Night,’ yet he reconstructed it using the modern technique of street spray painting, providing judges with a refreshing and stimulating feeling, ultimately winning the Best Creativity Award."

Curator Tangkis stroked his chin.

He didn’t welcome stark innovation, which refers to submitting something as simplistic as a dot on canvas to the committee.

However, creatively integrating painting styles, such as combining spray painting with oil painting, or integrating printmaking and etching methods, still attracts considerable attention within the modern professional art circle and among the general audience.