Серия "Маски" 

Editor: So, here we have an intriguing painting from Zeng Fanzhi titled “Masks” made with, well, paint! The figure… stares right through you. It's unsettling, almost like a distorted mirror reflecting back a hidden anxiety. What am I missing here? What do you see in this piece? Curator: Oh, that piercing gaze! It's a bit like staring into the soul of contemporary alienation, don't you think? Fanzhi has this uncanny way of capturing that feeling of being observed, even when you're alone. I see a vulnerability lurking beneath that stark mask, those eyes, almost childlike in their bewilderment. Are they protecting themselves, or pleading for connection? Editor: Pleading? I see a certain defiance. The red accents—the tie, the outline of the face—they strike me as quite aggressive, a shout even. Curator: Yes, but it's a controlled shout, isn't it? Like a scream stifled behind a smile. Consider how the “mask,” a painted layer over the real face, acts as a shield but also calls attention to what’s being hidden. Think about it: what’s behind a mask other than flesh, blood and raw emotion? Editor: That’s really interesting. So you're suggesting the mask is both a form of protection and a beacon, signaling vulnerability rather than strength. It’s like an invitation to see *beyond* the surface, even when the surface is doing its best to deflect. Curator: Precisely! The artist is playing with the idea of visibility, hiding in plain sight. And doesn't that capture something essential about the human condition today? We present versions of ourselves, hoping someone sees the truth beneath it all. This canvas is, perhaps, a mirror to that complex negotiation. Editor: This has given me a lot to consider; thanks. Curator: It has been my pleasure. Thank you!