In the 1990s, she astonished the art world with a stroke of "Cai Jin Red," 

frequently appearing in large-scale exhibitions at home and abroad centered on the theme of "women." 

She gained fame at a young age but quickly stepped into the traditional role of "mother" during the peak of her creativity.

After a period of reflection, 

she re-emerged in our view with a richer understanding of the female role.

Just like her canna lilies, from bold and intense to elegant and refined, she remains stubbornly true to herself.

798arts: When was the earliest time that art began to be recognized as "women's art"? Do you agree with that?

Cai Jin: It was in 1995, when I participated in the exhibition "Women's Ways in Chinese Contemporary Art" curated by Liao Wen, which featured 12 female artists. As women, of course it is—female identity is the existence of the female self, reflected in the unique pursuit of perfection and charm that only women possess.

In 1990, Cai Jin was at the Central Academy of Fine Arts.

“Canna Lily 1,” 1991, 80 x 80 cm, oil on canvas

“Canna Lily 1,” 1991, 80 x 80 cm, oil on canvas

798arts: “The motif of ‘Canna Lily’ has run through your creative career for over thirty years, but its forms of expression have evolved. Looking back over these 30 years, do you think it reflects different states of mind at different stages of your life?”

Cai Jin: “Creating the ‘Canna Lily’ for 30 years, there have definitely been different moods as I age and as my environment and time change. The most obvious change is that the ‘Canna Lily’ colors shifted—from very bright and vivid at the start to pure reds and purples, and later into black and gray. The overall feeling of the paintings has also continuously transformed. But these changes weren’t something I was consciously aware of at the time. I always focused on seriously painting the ‘Canna Lily.’ For me, the ‘Canna Lily’ is a symbol, an image.”

"Canna Lily 47," 1994, 200 x 190 cm, oil on canvas

During this period, Cai Jin was influenced by various avant-garde art concepts, and her feminist reflections began to awaken.

In 1995, Cai Jin was in Beijing.

Different stages of life can be seen in my paintings; the spirit and aura of a person definitely change and cannot stay the same. In the early period, my Canna Lily paintings were very "dense," with brushstrokes packed closely together, conveying many subtle feelings. At that time, I felt like I could never paint enough. After entering the "motherhood" phase, my mindset obviously changed. First, I didn’t have as much time to paint finely. Second, my time was no longer as complete, but the paintings gained a sense of "looseness," a kind of acceptance and inclusiveness. In the later period, I feel that whatever I paint is more natural, a feeling of going with the flow and accepting things as they come.

Cai Jin and her daughter in 2001

"Canna Lily 283," 2007, 210 x 110 cm, oil on canvas

"Landscape 20," 2009, 190 × 200 cm, oil on canvas

798arts: Generally speaking, “feminism” means independence and strength. In what sense should we understand “strength”?

Cai Jin: In this regard, my understanding of “feminism” is about “independence,” “independent thinking,” and “self-confidence.” For me, artistic creation is the freest and simplest thing — it is completely decided by myself and does not rely on anyone else.

"Canna Lily 365," 2016-2017, 500 x 400 cm, oil on canvas

798arts: Modern professional women often struggle to balance career and family. What does family mean to women in your view?

Cai Jin: For women, family is both a responsibility and a source of support. I remember when I first became a mother, it was very challenging, but I never complained. I was happy that I could take good care of my daughter while also dedicating myself to my art. I believe I did both well. My strength comes from my love for my daughter and my love for art.

“Flower Goddess Series,” oil on canvas, 2020

Cai Jin has taught at Tianjin Academy of Fine Arts for many years. In 2020, by a fortunate coincidence, a student brought her a hundred peonies and paeonies. Loving flowers, Cai Jin painted one after another, fully expressing the layers of life. However, the compositions were no longer as densely layered as in her earlier years; instead, they appeared more “spacious.” The colors also became softer and more tranquil.

                  “Three Flowers,” 2022, 200 × 190 cm, oil on canvas

798arts: Please recommend some female artists you admire. What aspects of their art move you the most, and why?

Cai Jin: I am most impressed by the powerful impact of Doris Salcedo’s works, and the vibrant life force expressed in Yayoi Kusama’s art.

Left: South African painter Marlene Dumas is known for her powerful and concise visual language, as well as her unique and authentic expression of female identity in art.
Right: Japanese avant-garde artist Yayoi Kusama has experienced visual disturbances since childhood due to mental health issues. She uses art as a form of self-healing and comfort for others, which has led to the creation of her iconic polka-dot world.

798arts: This time, the “Women’s Flower” exhibition is curated and academically led by women. Do you have any unique feelings about that? Recently, Song Art Center announced a collaboration with you. What are your expectations for the future?

Cai Jin: Indeed, this collaboration with Song Art Center has a particularly special feeling. Su Mang shows great care and dedication to artists, and there is a wonderful tacit understanding between us as women. It’s a very beautiful feeling and a true connection. I believe our future collaboration will spark even more brilliant and vibrant sparks.

                    Exhibition: “Cai Jin — Women’s Flower” Song Art Center Exhibition Venue

Artist Cai Jin with curator and Song Art Center director Su Mang

798arts: On International Women's Day (March 8th), what would you like to say to women who are currently feeling lost or confused?

Cai Jin: Believe in yourself, earnestly pursue what you want to do, and don’t stop halfway.

“Rose 1, 2, 3,” oil on canvas, 2020

She not only paints blooming flowers but also withered and decaying ones, because they all represent the beauty of life at different stages.

798 Art District “Cai Jin Space”

Interview: Wu Tong
Text content reviewed by the interviewee
Photo credits: Artist, Song Art Center, Internet