Inspired by the extempore incident of nature, Aniwar pays great attentions to document the nature– every glimpse in the splash of rain in a puddle, the pull of the wind, or the trajectories of shooting stars. Therefore, when appreciating his art works, audience can explore a soft and tender heart as well as a peaceful and tranquil inner world from his brush strokes and colours. Such a child-like way of spontaneous and intuitive expression makes the images simple and pure, yet it is undeniable that each every brush work is well-arranged in a deliberate way with careful consideration. Aniwar is intoxicated with his own artistic context from this profound thinking in every moment of nature.
Although the abstract qualities of Aniwar’s works make a most immediate impression, he sees them less as abstract than as the outcome of philosophical explorations of visual experience. This experience is a Zen-like conundrum that is at once simple and complex. It refers to how we see colour, form, and space, and how we open ourselves up to (or closed) experience. his insistence on aesthetics and spiritual animus in his art subverts what we anticipate from a contemporary art work. It asks us to put the ego aside, to quieten the mind and to submit our sense to the suspension of time and space that occurs when we enter his pictorial space. That his art feels timeless, neither bound by, or to, the era in which it is created, is a measure of the process brought to realising each piece.
Instead of any exaggeration, Aniwar’s art work reveals his personal emotion in a quite plain way. He cares a lot about the relationship between art and everyday life, therefore his art works present so, too, they are more poetic with strong emotions rather than a kind of political-related narration. This show is aiming to lead people who are busy courting fame and fortune to slower down their speed, to focus on their inner worlds, and to pay attention to the peaceful and quiet heart they have lost.
Aniwar was born in Xinjiang Karghalikin, and he granduated from Oil Painting Department of the Central Institute of National Minorities in Beijing. Presently, he is a professor teaching in the School of Arts and Design in Beijing. In 2009, for the group exhibition Music to My Eyes at Today art Museum, Aniwar created an insulated space, and in order to suspend the external sound, he physically enveloped the audience in a pictorial space by creating a three-dimensional painting that surrounded them on all sides. He chose a thicker industrial version of the zhanzi felt to line the walls of the space from top to bottom and all around, the zhanzi felts were individually rolled into tight tubes and hung in rows horizontally, with barely a hair’s breadth between them. The rolled tubes were randomly daubed with one striking stroke laid horizontally across its curved surface in varying shades of blue. The visual effect was intended to be like floating in an expanse of ocean or a vast cloudless sky.