Boats 1979

Editor: Looking at it initially, this painting evokes a feeling of unsettled tranquility; there is the busyness of boats with this calm teal sea surrounding them. Curator: Yes, Lin Fengmian's "Boats," painted in 1979 using ink and color on paper, presents an intriguing example of his synthesis of Chinese ink painting with Western Expressionist techniques. The layering of colours here definitely emphasizes an anxious, brooding feel. Editor: Considering the use of ink, can you say a bit more about the process behind a work like this? Curator: Absolutely. Fengmian’s approach emphasizes materiality—the fluid nature of ink allows for those vibrant yet blurred demarcations that contribute to the sense of dynamism, blurring the line between representation and subjective expression. This piece, I think, could be situated within broader discussions about identity and place. Fengmian struggled with these concepts as he split time between China and France. Editor: I’m wondering how the boats themselves represent labor, as symbols of fishing or trade—they appear almost precarious in their construction and so numerous. Curator: That’s an astute observation. When thinking about production, gender, and class enter the conversation. Maritime activities are always gendered, always classed; it is crucial that the artwork allows these boats not only to perform an aesthetic function, but to allude to socio-economic histories. Editor: It makes me wonder what Fengmian intended to communicate with this image: a sense of hustle or something different? The combination of many colors could indicate an entire rainbow of things! Curator: I see "Boats" as offering a point of reflection on cultural exchange, artistic expression, and societal structures. It prompts a deeper exploration of these histories that impact and inform all artworks. Editor: Ultimately, seeing these painted, inky boats helps me to appreciate the craft, social implications, and visual complexity within the broader landscape of labor.