I think artists in the 1980s have the richest design resources and a superior design environment compared to previous artists. Because the predecessors have already made artistic development and innovation, these younger artists usually adopt the method of absorbing the essence of the predecessors’ works and integrate them into a new design work.
Taking the experimental ink painting produced after the 1980s in China as an example, the representative Gu Wenda carried out three stages of the ink experiment: first, the production of pseudo-text ink painting, ink performance art and ink installation art, this is the first stage. The second stage directly studies the world of material materials. In the third stage, he discovered that the most essential and most moving thing is not ordinary material materials, but the human body material itself.
Therefore, the artists of this age are the art resources left by the previous people to “experiment” and then integrate them into their own things. I think these integrated ideas belong to them. The “experiment” itself has a certain exploration and pioneering spirit. Although the materials for the experiment are left by the predecessors, the results of the experiment must be brand new, and this is also to a certain extent “Innovation”.