Muscle Boys 谁的青春期不像“匹诺曹”?

July 26, 2019 2019年7月26日
The Real Boy 7 (2014) 80 x 100 cm / Oil on canvas 《正道仔 no. 7》(2014) 80 x 100 厘米 / 布面油画

When she first began painting, Shang Liang created carefully arranged, realistic depictions of everyday scenes in a mild color palette. Fifteen years later, her works have different air: one of abnormal power and force. She paints muscular characters that seem to burst out of the frame of her large canvases. They can be human or inhuman, but they all possess the same larger-than-life muscles. 

Born in 1981 in Beijing, Shang was raised in a military community in the same city. She attended the Central Academy of Fine Arts (CAFA), where she studied oil painting under Liu Xiaodong, one of China’s greatest painters. Several years later, searching for new means of expression, she returned to CAFA for a master’s degree in experimental art, and there she developed a distinctive, slightly surreal style.

刚开始画画时,商亮喜欢用柔淡的色调,描绘各种精心设计、写实风格的日常场景。15 年后,她的作品呈现出截然不同的风格:充满怪异力量感的画面。她笔下肌肉发达的角色像是要从画中冲出来一样。这些角色既有人类也有非人类,但无一例外,都拥有夸张的发达肌肉。

商亮 1981 年出生于北京,从小在当地一个军区大院长大。后来入读了中央美术学院,师从中国著名画家刘小东学习油画。几年后,为了寻找新的表达方式,她又回到中央美术学院,修读实验艺术硕士学位,并在那里形成自己独特的、偏超现实主义的绘画风格。

The Real Boy 25 (2016) 158 x 129 cm / Oil on canvas 《正道仔 no. 25》(2016) 158 x 129 厘米 / 布面油画
The Real Boy 21 (2016) 166 x 129.5 cm / Oil on canvas 《正道仔 no. 21》(2016) 158 x 129 厘米 / 布面油画

This distinctive style began to appear when she became interested in the subject of adolescence: “I think there is obscurity about this period in life,” she explains, “teenagers have confused emotions and uncertainty about what they will become. It’s a period of intense transformation and development, both in the body and the mind.” More than anything else, adolescence is an important moment for developing a moral sense. Teenagers are complicated beings, innocent and still quite vulnerable to the influences around them.


The Real Boy 19 (2016) 100 x 80 cm / Oil on canvas 《正道仔 no. 19》(2016) 100 x 80 厘米 / 布面油画
The Real Boy 6 (2016) 100 x 80 cm / Oil on canvas 《正道仔 no. 6》(2016) 100 x 80 厘米 / 布面油画
The Real Boy 1 (2016) 80 x 60 cm / Oil on canvas 《正道仔 no. 1》(2012) 80 x 60 厘米 / 布面油画
The Real Boy 20 (2016) 100 x 80 cm / Oil on canvas 《正道仔 no. 20》(2016) 100 x 80 厘米 / 布面油画

In 2012, Shang began to work on The Real Boy series, portraying slender teenage boys with hypertrophic abdominals, chests, and arms. Some are flexing their muscles so hard that veins pop out on their skin. Their faces still reveal tenderness and immaturity, but their expressions and body language suggest a longing to become powerful, muscle-bound men. 

Some paintings in this series feature boys with long, pointy noses, a clear reference to Carlo Collodi’s classic children’s tale Pinocchio. Like the puppet who dreamed of becoming a real boy, the characters in these paintings have to prove themselves mature without straying from the path of honesty and morality. This series dramatizes the challenges and conflicting impulses of adolescence. 

2012 年,商亮开始创作《正道仔》系列,描绘一些有着大腹肌、粗壮胸部和手臂的十几岁少年。其中一些男孩用力展示自己的肌肉,以致于手臂上青筋爆突。他们的面孔仍然显露出温柔和稚嫩,但他们的表情和肢体语言却流露出成为肌肉结实的男人的渴望。

在此系列的一些画作中,有些男孩有着又长又尖的鼻子,这显然是在借鉴 Carlo Collodi 的经典儿童故事《木偶奇遇记》中的匹诺曹。就像梦想成为真正男孩的木偶人一样,这些画中的男孩必须在遵守诚实和道德的原则上,证明自己是成熟的男人。这个系列戏剧化地展示了青春期的各种挑战和矛盾的冲动。

The Real Boy 14 (2015) 80 x 100 cm / Oil on canvas 《正道仔 no. 14》(2015) 80 x 100 厘米 / 布面油画
The Real Boy 21 (2015) 40 x 40 cm / Oil on canvas 《正道仔 no. 21》(2015) 40 x 40 厘米 / 布面油画
The Real Boy 18 (2015) 40 x 40 cm / Oil on canvas 《正道仔 no. 18》(2015) 40 x 40 厘米 / 布面油画

Shang’s following series, Good Hunter, developed naturally from The Real Boy: it’s as if the same characters had grown both in physical form and in confidence. The new characters seem to have exaggerated internal strength, with bodies developed into cartoonish muscular form. Their faces, however, retain the same boyish expressions or have no expression at all. The oversized canvases, bigger than a human body, suggest an intimidating superhuman strength. Standing before these characters, the viewer may feel small, or even oppressed. The exaggerated manliness combined with a complete absence of women seems to be an allusion to patriarchal systems built on oppression and misogyny.


The Good Hunter 11 (2015) 100 x 100 cm / Oil on canvas 《好猎手 no. 11》(2015) 100 x 100 厘米 / 布面油画

In Boxing Man, her latest series, Shang departs completely from realistic human anatomy, and a new character emerges: one with a boxing glove in the place of the head and no sexual organs.  None of her characters ever really have an adult face, and here they are frightening and inhuman creatures. As she explains: “It’s not human. It’s a new species. You can guess how it senses the world, what it feels, and what it thinks.” With the metaphor of strength and power becoming a head on their own, Boxing Man appears as the culmination of all underlying issues found in her previous series: the struggle for the ultimate strength, the torture of moral dilemmas, and the blind pursuit of power. 


Boxing Man 7 (2018) / Oil on canvas 《拳击人 no. 7》(2018) / 布面油画
Boxing Man 8 (2018) / Oil on canvas 《拳击人 no. 8》(2018) / 布面油画

As references for her characters, Shang looks to bodybuilding and fighting TV shows. She also refers to classical sculptures by Michelangelo. To achieve a certain luminosity, she places different layers of paint one over the other. Red, dark-red, and brown are predominant colors, evoking oxygenated and deoxygenated blood and bruises. Her brushstrokes have a notable strength, which comes, no doubt, from her practice of Chinese calligraphy. There are also elements of taiji embedded in the movements and curves of the characters.

Although she has unconsciously absorbed traditional Chinese elements, Shang’s underlying subject matter is not specific to any country or culture. Her work can be seen as a critical commentary on traditional ideas of masculinity. It is fascinating that this appraisal comes from a female artist. If boys face excruciating difficulties when expected to assume the role of a man, what do girls feel when they, too, are expected to succeed?


Selected works from Good Hunter and Boxing Man are on display in a solo show at MadeIn Gallery until the first of September. 



MadeIn Gallery
Longteng Avenue, lane 2879, no. 106
Xuhui district, Shanghai




来自《好猎手》和《拳击人》系列的精选作品日前正在上海没顶画廊举办的个展中展出,展览将于 9 月 1 日闭幕。




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Contributor: Tomás Pinheiro
Chinese Translation: Olivia Li

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供稿人: Tomás Pinheiro
英译中: Olivia Li