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Meet the guy behind this month's Sub-Culture poster: the talented Chairman Ca, a Bejing based illustrator, whose artworks look as inspired as they are inspirational. If you have 5 minutes, we’d like you to get to know the Chairman, how he finds connections between all cultural themes through the aesthetics of sex and violence, and his take on the Beijing and Shanghai art scenes.
Can you tell us a bit about your background and how you became an artist?
I graduated from the University of Communications in Beijing in 2006, where I majored in animation. That uni is not really a place for creating artists, but I believe experience counts more than theoretical education anyway.
You know, actually, if I had to choose a title like “painter” or “artist”, I would probably choose “painter”. However, call me court painter, illustrator, caricaturist - I am flattered by all these titles, they’re all fine with me. The truth is, I have done all kinds of things; I’ve worked together with a couple companies, painted on the street, had exhibitions in art galleries, got published in semi-legal magazines and art magazines, even in high-end fashion magazines. I think it is because of all these ‘achievements’ that people call me an artist. However, in the grander scheme of things - call it metaphysics - names do not matter to me.
What about your name 'Chairman Ca', does that have any special meaning to you?
A lot of people ask me this question, but actually, my name is just a symbol. It does not mean a lot and it is not as meaningful as a lot of other artists' names.
Your illustrations are comic-style, often using sexual and violent imagery. Have you always drawn like this? What or who inspires you?
Haha, it’s always weird hearing your work summarised up like that. Well, it is right to call it comic style, and I guess drawing comics is a dream for a lot of people in our generation. In middle school students would often try and draw sketches of their own, being inspired by comic books, and regardless if they’re studying arts or not. Personally, I was influenced by the computer graphics trend from 2002-2004; it first drove me to become a concept artist for games, and I went back to this style in my works now.
As for the sex and violence in my pieces, I use them often, because this is what I like. It is not only something physical, these two things actually exist throughout the entire human history. Different times generate different tastes and these are certainly the coolest in taste and fashion. I am so addicted to them.
In addition, it is an indispensable part to express sex and violence in some way, if there has to be somebody doing this, then let it be me!
How do you decide on a theme for a particular piece of work?
Well, on a cultural basis all subjects are the same to me. It doesn’t matter if the theme is rock, religion, hippies or high-end luxury: they’re all inseparable from sex and violence. Extraordinary beauty comes from rules. Let me explain, all subjects have something in common, this is the rule. And if you understand this rule, then you can create something beautiful about any subject. For me, however, my least favourite subjects are finance and IT.
Have you ever experienced censorship or people who are offended by your work? What do you think about that?
I actually haven’t met too many people who disgust my work, because what I express is art - what my works show is beyond what passes as ‘normal’ and my attitude towards art is sincere. I don’t want to simply draw people’s attention by showing them images of sex and violence, what I want to express is the aesthetics behind them. As a viewer, you would not question the painter’s attitude towards art, even if you are sensitive or dislike what is being shown. I think there are only few people, who are actually offended or disgusted by my work. And as for censorship, things are a lot looser now than they were before. Admittedly, some mainstream publishing channel would be stricter, but it is becoming easier and easier now.
Do you think there are any differences between the Shanghai and Beijing arts scenes? What would they be?
I have met lots of friends from Shanghai and Beijing. Actually, when I was talking with Xiaolong about what being an artist truly means, we had very different opinions.
In Beijing, ‘conceptual artist’ would be the synonym of ‘artist’. This narrow definition has the result that artists in Beijing, once they sold their first piece, may be pushed into one specific style at the beginning of their career, which they then will be stuck with. However, many of my friends in Shanghai continue to strengthen their self-cultivation and art personality. They believe that the concept of being an ‘artist’ is the output of art-cultivation; they will try various styles and different methods, and they are less likely to be confined by some individual style or rigid concept.
In my opinion, the scene in Beijing resembles low-end business shops. They are messy and all kinds of things are displayed together, but you can find many great objects. In Shanghai, all shops are usually decorated modernly, almost a bit too modern.
However, there is also the other side to it: high-end stores in Beijing, which target the rich customers, dare not make any solid move, they stick to what they know. But the stores in Shanghai have their own character, are more open.
You can also compare the scenes to how business is being done in the two cities. The kids in Beijing will sell anything for a cheaper price when they encounter professional customers, their priority is establishing relationships. In Shanghai it is the other way round: the more professional the customer, the higher the price.
I might be a little over talking here, but I believe the above are closely interconnected, you can decide by yourself.
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