The Way We Eat

My paintings on fabric originate from a memory-picture of childhood. When Mother came home from work [a factory that made gardening tools], I would rush toward her to lift the cloth-wrapped bundle she carried. Rummaging within the bundle I would often turn up a bulging handkerchief, which I would untie to find edibles wrapped up in it. The moment when I found those biscuits or pieces of candy was the high point of my day.

Our family was not well off, so Mother could seldom buy snacks in bulk amounts for me. Instead, she would bring home one or two treats from her workplace or from colleagues’ houses. My biggest wish was to eat those goodies wrapped in that handkerchief. Even now, the recollection gives me a warm feeling. Thus, I painted an album titled Mama’s handkerchief, as a gift to my beloved mother.

In my view, a handkerchief has two attributes: as a talisman or gift, it has lofty significance, but it is also a practical item used by ordinary people to wipe up messes. This was my original intent when using the handkerchief as a vehicle to create State banquet and civilian food 2010. I painted the contrast between an official banquet and a meal eaten by common people. This is an example of looking at small things but seeing the larger significance. At the same time, there is my somewhat relaxed, humorous way of spoofing or satirising a real problem.

… The coloured handkerchiefs [show] the officials’ food … when the government hosts functions for international guests. The white ones [show] food for ordinary people. We were very poor when I was young … Of course, it reflects what is happening in China but it’s not really a political piece, I wanted to depict the issue in a humorous way.’

Shen Liang
China b1976