EXHIBITED:

Feng Zhengjie, Marella Gallery, Milano, November 16 - December 10, 2005

I codici della pittura, GC.AC. Galleria Comunale d'Arte Contemporanea di Monfalcone, Italy, April 7 - May 21, 2006

Cina Rinascita Contemporanea, Palazzo Reale, Milan, December 11, 2009 – February 7, 2010

ILLUSTRATED:

Andrea Bruciati and Alessandra Galasso, I codici della pittura, GC.AC. Galleria Comunale d'Arte Contemporanea di Monfalcone, 2006, p. 68

Cina Rinascita Contemporanea, 24 Ore Motta Cultura & Palazzo Reale, Milan, 2009, illustrated, pp. 24-25

Feng Zhengjie's paintings saw a transition in the year 2000. "Beauties are handled in a soft and smooth way. Strokes of brushwork are invisible, and structures are not emphasized in figure designs. The overall planar effect and fluent lines in the paintings strengthen a decorative atmosphere" (Refer to A Brief Introduction of Feng Zhengjie's Art)

Different from Gaudy and Pop art, while Feng Zhengjie employs ready-made images, the antitype of these images is not important at all. It is important that Feng Zhengjie has developed a form of image according to contemporary visual experience. The works look like exaggerated photographs related to fashion, but are imagined and constructed artificially. During the period of creation, the artist abandons ethical judgment. If Gaudy Art is spiritually centered on irony, then Feng Zhengjie's spiritual core is to develop a new aesthetic interest and means of processing images by borrowing from commercial culture and popular culture, to achieve a new form of contemporary commercial images through imitation.