基辛格曾说“权力是最好的春药”（Power is the ultimate aphrodisiac），因为权力是生命原始诉求的最直接体现：权力即有权支配他人的强制之力，一个人拥有的权力越大，他支配别人的能力也就越强，获利也越多。从获取利益和分配利益的角度看，可以说人类的各种社会活动都是围绕权力来展开的，它是社会问题的核心。何杰近年来的所有作品，几乎都在探讨在权力结构中居于上层者们的美学，围绕权力的多重“迷人”之处展开层层的剥析。在这个过程中，他发挥着艺术家对于感官魅力的天然关注，以及知识分子的问题意识。
Triumph Gallery is pleased to present “The Charming Power – He Jie Solo Exhibition” on September 8th, 2018 at Triumph Gallery. This exhibition will mainly present the latest paintings by He Jie in 2018.
Kissinger once said, “Power is the ultimate aphrodisiac,” for the simple reason that power is the most direct manifestation of the original claim of life. The greater the power, the stronger an individual is to control others, and consequently the more profits he gains. From the perspective of gaining and distributing benefits, it can be said that all social activities of human beings are carried out around power, which constitutes the core social problem.Nearly all of He Jie’s works in recent years are exploring the aesthetics of the upper-class, analysing power at various levels to reveal its source of fascination. In the process, he has displayed the natural tendency to follow the sensory charm as an artist, and his awareness of social issues as an intellectual.
In the world of image, he would select scenes or artifacts that show off the power, status, prestige, and influence of the dignitaries. The makers of these scenes and artifacts would carefully dole out the energy of aesthetics, so that the words, deeds and ideology of those in power are laced with sensory charm. It is an aesthetic attempt to pale reason, and the more sophisticated the technique, the less telling the final appearance, rending the visual products with the most undisguised intentions to be natural beings. As a fellow artist, He Jie knows them well. To decrypt these visual products, he would appropriate them onto his own palette in disturbing ways to make people feel intuitively their pompousness.
The elites and dignitaries prefer images with imperial and imposing connotations, represented by elaborately choreographed rituals. He Jie would tamper with the formal structure crafted by the elite aesthetics by taking away certain elements from them, or misplacing the artifacts into a new context, resulting in complex semantics. On the one hand, as the original structure collapses, the charm is dissipated or distorted, and replaced with mockeries and a sense of humour. On the other hand, as for the artifacts and props charged with aesthetic charm, once placed in a new scenario, their past glory as icons of ideology, worshiped and chased by the masses, fades into nothingness, leaving the audiences with sighs and reflections.
Just as the knowledge produced by power is deemed objective, so is the aesthetics of power enchanting, complementing each other along the way. As He Jie continues to focus on the aesthetics of the dignitaries, his pictures can be used as a window to understand them.