 n the 1990s, Ke Du, Da Feng and I were each others “witnesses”, and our “witness” was New York.
The three of us met in the 90’s in New York, and became close friends. On a regular basis, we would meet in each others’ studios to drink, paint, critique each others’ works, and engage in lengthy conversations on a range of subjects. To make a living, we would draw portraits of passers-by on the streets in New York. Like many other artists living in New York, we needed this income to maintain the costs of our studios and in order to pursue our dreams.
 Ke Lu and Da Feng’s studio was located near East river in Brooklyn, form which one could see the Manhattan skyline – Da Feng told me that during the summer, people form South America would often come to catch crabs in East River, located near his studio. My studio was located in 42nd Street in Manhattan. We would show each other the paintings we had just finished, and eagerly shared advice, criticism and boast about our recent achievements. We never tried to attract the attention from the mainstream American art circles, and I believe that this is the primary reason why we became such good friends – the three of us were never concerned with recognition, and we calmly believed in our abilities as independent artists.
Each of our styles of painting is very different. At the 1970’s Ke Lu was an outstanding figure in the art circle in Beijing. His style was poetic and impressionist, and often included imagery of the ancient imperial palace, the willow and the lotus. In the mid- 1980’s, he travelled throughout Europe, and eventually settled in New York City. He spent these ten years immersed in Color field. Neo-Expressionism, and at the 90’s, Ke Lu made a sudden switch to painting famous traditional Chinese paintings on large sized canvases. The texture of these painting was rich and pure. However, not long after this, he returned to his free and erratically colorful sketching, characteristic of his early style.
Da Feng is tall, handsome, intelligent and honest. He graduated from China Central Arts and Crafts Institute in the 1980’s. He has experimented with a range of styles – from Photo Realism to Art Deco, Pure Abstract to New Image Painting. Throughout the 90’s, he explored a number of styles from  Abstract Expressionism to experimental Chinese calligraphy – he was interested in numerous variations of Chinese Calligraphic styles. I do not know how to style define his art practice, but I know his works embody his lovely character: playful and curious, but with an undeniable virtuosity and seriousness as well.
As for me, I painted, but my paintings were out-dated. I learned a great deal from Ke Lu and Da Feng who possessed a wealth of knowledge about modern art movements in New York, including: Abstract, Pop Art, Hard Edge, Minimalism, New Image Painting, Graffiti, and numerous types of experimental art as well. Because of them, I was sure that I knew everything. The two of them willingly accepted me into their circle, and we quickly became the kind of friends who talk about everything under the sun. I believe that our closeness was partly due to the fact that our interests extended beyond Realism; however, the primary reason is most likely because the three of us were similarly confident, carefree, and lived as if we had not a worry in the world.
The present conditions in China differ greatly from the ones in the United States. In America, people contending with poverty can still have an easy life and enjoy art without difficulty. During our time in New York, the three of us spent a great deal of time roaming galleries and museums, acting somewhere between reckless hoodlums and sincere disciples. We shared all of our criticisms and thoughts about the different work that we saw.
I remember one instance, in 1988, Ke Lu and Da Feng drove me to Washington DC, listening to the rock music and songs by Wang Fei along the way. We waited in line overnight to buy tickets for a special exhibition at the National Gallery of Art from Amsterdam entitled, “Van Gogh’s Van Goghs”. At dawn, amidst a large group of people waiting in line, the three of us each sipped our own cups of coffee. At dusk, we began our journey back to New  York, stopping by in Chinatown to enjoy Cantonese roast pork together. At that time, Ke Lu and I were around fifty years old, and Fa Feng was almost forty. Even in our middle age, we could still experience a youthful existence – on that day, the three of us looked like young men. At that time, we had no car, and never thought that we could find success.
Last year, I found myself in their newly established studio in the suburb of Beijing. As in Brooklyn, we talked loudly, surrounded by their paintings which I had known well in New York. As Chinese art continues to grow and gain global recognition, these two international artists have finally and happily returned to their homeland. This year, I have found a way to escape the system, and Ke Lu and Da Feng also found similar freedom.
We were philosophical, egoistic, insane, exceptionally unrealistic, endured great hardships, unconcerned with fame, unmoved by other people’s business, steered clear from trends, and were constantly trying to understand new art. On the road of life, one could only be so lucky to have formed the intimate bond that we stumbled upon: New York endowed us with a meaningful friendship, and now, the ever chaotic Beijing and New York are growing more and more similar in my mind.
The last time the three of us held a group exhibition in Manhattan, and now, at the Chaoyang Wine Factory (Jiuchang), we exhibit the works we completed in the 90’s in New York. While the viewer may not see “New York” in them, for us, they represent the hardship and costs we paid to get the joy behind the canvases.
Thank you for coming. About twenty years ago, we left China for a foreign land. New we have returned to Beijing, having endured the adversity of a long journey, and will continue to move forward as outlaws.
"From New York to Beijing" -- Paintings of Chen Danqing, Ma Kelu and Feng Lianghong are beijing displayed in Today Art Museum. The exhibition will last from December 7 to December 21. For more information, please go to: www.todayartmuseum.com . Belows are part of the works by the three artists:
Chen Dan Qing:I love Corot, Oil on canvas, 60x51cm, 1997
Chen Dan Qing:Barogue Concerto, Oil on canvas, 102x76cm, 1999
Chen Dan Qing:Erotic Painting and Landscape No.1, Oil on canvas, 127x74cm, 1999
Chen Dan Qing:Erotic Painting and Landscape No.2, Oil on canvas, 127x74cm, 1999
Chen Dan Qing:Venus Concerto, Oil on canvas, 102x76cm, 1999
Feng Liang Hong:Studio No.1 No.2, Oil on canvas, 51x41cm (each), 1996
Feng Liang Hong:Graffiti 92-2, Oil on canvas, 102x76cm, 1997
Feng Liang Hong:Studio No.11, Oil on canvas, 173x137cm, 1997
Feng Liang Hong:Calligraphy & Graffiti 99-3, 178x17.5cm, 1999
Ma Ke Lu:1989 No.1, Oil on canvas, 203 x 168cm, 1989
Ma Ke Lu:1989 No.2, Oil on canvas, 203 x 168cm, 1989
Ma Ke Lu:Yellow, Oil on canvas, 203x168cm, 1990
Ma Ke Lu:Composition in Black No.1, Oil on paper, 133x101.5cm, 1991
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