But here it is: Chinese art is exploding in the world market because the art world has been flooded with imitations of Western styles. Collectors hungry for the "contemporary" without the "weird" or abstract snatch up nostalgic landscapes or romantic portraits executed with immaculate technique and virtually no originality.
Wang, it seems to me, has put all his women in this position. She — Wang's archetypal woman — always seems to me to be like Chinese art itself, which can no longer look back on its past, but rather than forging a new future for itself, puts on the lurid clothes of American capitalism and sells herself like hotcakes.
In "In Quiet Blue," the past and the future stand next to each other.
The motif of water seems to be a signal to the viewer that the painting has entered into the unreal and should be carefully considered. "Ukiyoe Dining Table" features a girl in a string bikini and long black gloves sitting with her back to us. She's turned her head over her shoulder, and the look on her face is as if she has heard her name, but does not recognize the voice.