展览时间
分类:美术

标签: 杨平 杨平个人展馆 诧.紫 不分明的直觉

A few years ago I wrote an essay on the works of my good friend, Li Gang, during the period of his artistic transformation. At the time, Li was at the peak of his creativity, as he completed many series of new works with great momentum. I left for Beijing later on. One day, Li suddenly resigned from his steady job and wandered off to Beijing like I had done. Our wandering to Beijing shared a similar motif: we received steady paychecks from official institutions, and devoted our spare time to artistic experiment. In this regard, Li showed a remarkable vigor. Here are some of my thoughts on Li from the essay I wrote a few years ago:

展著名称:诧.紫 ——杨平个人展览馆

It had only been a few days since I last saw him. Li Gang had finished a whole basket of paintings, and he acted like a craftsman who crawled over patchworks and created many new series of works. I admire Lis capacity for doing everything with tremendous gusto and spreading his energy over multiple pursuits. In Die suan pieng, we have this idiom, spreading salt, which has the connotations of large and coarse, meaning that someone has the courage to strive, though his efforts may be unrefined at times. Despite such occasional coarseness, Li was meant to do great things.

Exhibition name: THE DIFFERENCE·PURPLE------ Yang Ping Solo Exhibition

The art of painting lies between vastness and fineness, between coarseness and subtlety. Vastness and coarseness are a kind of mindset and philosophy, while fineness and subtlety are another kind of feeling and experience. Looking at his latest series, I feel that Li has arrived at new kind of reflection through his quest for a uniquely personal feeling. I have always wondered: What kind of reflection and feeling are they?

策 展 人:鲁虹

Li worked in printmaking in the past, and he had a special touch for wood and grain while working on the material. He switched to Chinese ink painting at a later time. Through the use of brush and ink, he sought the dialogue with ancient souls, and its connection with contemporary language. However, I have always felt that he has not found his place in Chinese painting and ink, and he continues to practice the craft of brush and ink. In recent years, thanks to his various artistic and professional pursuits and his outgoing personality, Li acquired many eccentric friends. He has participated in and organized a number of experimental and contemporary art activities, while he gradually came to an alternative mode of thinking and feeling. As a result, he put the brush, paint, and writing aside, and turned to folding papers seeped in ink and their patchwork.

Curator: Lu Hong

On Lis recent experiments, I see three layers of relation and meaning as the entry points to our discussion. The first is process. Titled Series, his new batch of works explore the experience and joy of the process of creation. The artist does not care for the depiction or expression of anything in particular. Nor does he care about the beginning or the end. He often begins his process in the quiet moments of his busy life: folding papers, sprinkling water, seeping the papers in ink, spreading them on a flat surface, tearing them apart and creasing the stripes for patchwork, etc. Step by step, the process unfolds and becomes his experience, while his experience also runs through the process. In this sense, his experience can be extended to a broader aesthetics and cultural meaning of water, ink and paper as a medium. The unison of ink and xuan paper embodies an experiential joy and understanding of the nature of Oriental culture.

学术主持: 王端廷 杨卫

The second is graphics. In the recognition of aesthetics and cultural meaning of Chinese ink painting, we are conditioned to derive our understanding from typical images and formulas such as mountain and water, flowers and birds, characters, and brush and ink. This has created the misconception that we can only draw reciprocal meanings of traditional culture and Oriental culture from such graphics, and led us to search for breakthrough from within these frameworks. Lis breakthrough takes on a rather large scale; it may even be a revolution, a quest for a new kind of graphics. Li attempts to break away from the traditional and classical S shaped structures, the relation between sparseness and thickness in brush and think, and the principles of resemblance and difference. In their place, Li creates abstract and square compartments, symmetrical lines that come close to perfect balance in the thickness of ink, patchworks that have been jumbled and rearranged, and the contrast and dialogue between different materials. These touches constitute his understanding and expression of ink art in the contemporary realm, as well as his personalized graphics of ink.

Academic host: Wang Duanting, Yang Wei

The third is feeling and exerience. The crux of Chinese painting and ink lies in the cultural expression and experiential depth of the art form. Its forms and graphics may be manifold, leading us to a higher plane of cultural experience; or they convey the artists personal experience of culture, which gives birth to the meaning of artistic creation. Li has attempted to his feeling and experience of ink as an artistic expression and cultural language with calm. In the depth of these ink compartments, a distinct aesthetics and comprehension are revealed through the varying shades of ink on paper. This needs to be discerned and felt from the heart. Li must pursue this experience as an artist; we, as the audience, must also do the same.

艺 术 家:杨平

Lis experiment evolves along this process. The birth of his graphics, the expression of feelings, the experience of culture and the use of ink as a medium are transformed into cultural meaning, through the artists language and its growth.

Artist: Yang Ping

In spreading salt, Li has both coarse and fine touches. However, his experiment is only the beginning of a process, which leans toward coarseness and even ferocity at times. I hope that he will calm down and experience life, society and culture, and transform such personal experience into an expression of ink that is completely his own.

主 办 方:悦.美术馆

The title and emphasis of the essay was Experience is a Cultural Attitude, and experience has always been the starting point of his artistic creation. At this stage, Li has elevated this experience of artistic creation into cultivation in his everyday life. It is exalted into a way of living, a means of cultivation toward a higher realm in life. Be it ink, traces of life, emotional states and higher realms in life, they may all become a new stage in Lis development, an expression of his cultivation through the journey of life and existence.

Organizer: Enjoy - Art Museum

I look forward to seeing greater depths of Li Gangs experience and cultivation.

展出时间:二零一六年7月七日-7月26日

Qinluyun, Beijing

Exhibition Date: November 30, 2019 - December 11, 2019

10 May 2012

开幕时间:二〇一五年1五月18日午后3:00

Opening Time: November 30, 2019 (Saturday), 3 pm

展出地方:香岛.悦美术馆C厅

Exhibition Location: Beijing Enjoy - Art Museum C Room

展出地点:香港市江源区酒仙桥2号路798艺术区797路B06

Address: B06, 797 Road, No. 2 Road, Jiuxianqiao, Chaoyang District, Beijing

序言 鲁虹 128 x48.5cm 128x48.5cm

Preface LuHong 128x48.5cm

笔者看杨平的新水墨

鲁虹

以思想水墨媒介表明个人对及时感觉,原来就有为数不菲理想艺术家做过相当美丽好的商讨,那也使得他们在中华现代艺术史留下了浓烈的一笔。作为成年人在人弃笔者取开放年代的歌唱家杨平,自觉将眼光投向了我们生存于此中的费用时期。何况,从她极度的心得和心得出发,常用具备本性特点的图像格局表现成些妙龄女人的期盼与赞佩,以至她们孤独、黯然、挂念、彷徨、迷闷的情感,相比较起来,她近日创作的《时光类别》,因以花由盛而衰的经过,象征了女生的一生一世,显得极富哲理。谭何轻易的是,通过持续索求,它不止成功转移了观念没骨画法,还很好摄取了天堂今世艺术中的表现成分,进而产生了颇负个人特色的表现风貌,非常不易于。

自家早就见过杨平的书法作品,别讲在她这一辈音乐家庭是优秀的,正是与上一辈艺术家相比较,也一点也不逊色。相信在那后的写作中,他自然会将团结的书法造诣更加好融进去,并使和睦跃上新台阶。

杨平既年轻又有才,既辛苦又好学,加上她有很好的教授,一定会有不可捉摸的官职,对此,作者且拭目以俟。

丁酉早秋 鲁虹于塞内加尔达喀尔鄱阳湖纯水岸

My feeling about Yang Ping’s new ink painting

Lu Hong

Using traditional ink as the medium to express the individual's feelings about the present, many excellent artists have done excellent researches, which also makes them have a strong stroke in the history of Chinese contemporary art. As an artist who grew up in the era of reform and opening up, Yang Ping consciously turned his perspective to the era of consumption in which we live. Moreover, starting from her unique experience and feelings, she often uses images with individual characteristics to express the desire and yearning of some young women, as well as their loneliness, loss, melancholy, jealousy, and confusion. In contrast, her newly creation“The Time Series”, described the process of the decline of flowers which symbolizes the life of a woman, and is extremely philosophical. What is commendable is that, through her continuous exploration, she has not only successfully transformed the traditional non-bone painting method, but also absorbed the elements in Western modern art, and formed a personal appearance, which is not easy.

I have seen Yang Ping’s calligraphy works, I have to say she is not only outstanding among her generation of artists, but also not inferior to the artists of the previous generation. I believe that in the future creation, he will definitely integrate his calligraphy skills and make herself leap to a new level.

Yang Ping is young and talented. She is both diligent and eager to learn, and she has a good mentor. There must be a limitless future for her. I will wait and see.

Lu Hong in Wuhan East Lake pure water shore

(The author of this article is a famous contemporary art critic, curator, executive director of Wuhan Heyi Art Museum, professor at Sichuan Academy of Fine Arts and Hubei Academy of Fine Arts)

时刻 纸本水墨100x66cm 2019

Time 1 100x66cm ink on Paper 2019

铁黑 纸本水墨160x100cm 2019

Azure 2 160x100cm ink on Paper 2019

无言 NO.1 34x69cm 纸本水墨 2019

Speechless 2 34x69cm ink on Paper 2019

不明确的直觉

L:看你的小说,有好些个您的阴影,有一句话说“画如其人”,能钻探你和谐吗?

Y: 最理解自身的人是和煦吗?

马可(mǎ kěState of Qatar.奥勒留在《沉凝录》里说:这些世界上,独有你最懂本人。哈哈

多彩 纸板水墨46.5x35cm 2019

Speechless 2 34x69cm ink on Paper 2019

自己是三个基本上时候凭直觉做事的人,相比较感性,表以往创作中正是讲求以为的那一类。比比较多的直觉比如对人对事对物,事实注脚也正如正确的,笔者叫作是率先以为。而现实中,敏感与彷徨、细腻与分散、冲动与理智,是自发的,也是后天产生的,总是左右反感着自家,和自己的小说。

豪彩vip,云蒸霞蔚 布上水墨、十四烷40x30cm 2019

Colorful 4 34.5x34.5cm Cardboard ink 2019

简单而准确表达主见和以为,是心里一向艳羡与寻找的完美。当试图捕捉对象在画面中冒出的首先明明认为时,对镜头空间的使用也多了思虑。当书法家们争着要把镜头塞满,以示充分时,作者则要把广大意素赶出画面,只聚集于最传神的意境部分,感觉那就足足了。于是创作有了提纯语言与图式的央浼。一句话说清的事,不用两句,就像也与和谐天性有关,形同语言交流。

多彩 布上水墨、间苯二甲酸40x30cm 2019

Colorful 5 34.5x34.5cm Cardboard ink 2019

L: 您上几位展览览相当大,在密尔沃基油画馆,反响也很棒。展览后到近来,您的创作有何新的改变,在此番展出中有哪些突破?

Y: 继前一人展览出之后,创作进入了沉陷与深化的进程,专心于女子本身心思与情绪的打通与表现,从个人特其他眼光出发,是自己的专攻,何况成了个体生命体验的言语,稳步把生活感悟和现实性中的触动,转变为二维平面表明,是核准自身敏锐的法子认为,也是加重特性的经过。

云兴霞蔚 布上水墨、十六烷40x30cm 2019

Colorful 6 34.5x34.5cm Cardboard ink 2019

在即时出头红娘特别激烈的一代,小编就像是更迷恋纯美术的揭橥。但切合地借用一些设置方式,只要能够表达意图,也会用。

由早先对图像与表情的清晰直露到模糊虚化,以至省略,是一种对心理极致的抒发,也含有着无语与冷静。间隔是意料之内的留存,给形象内部与外表蒙上了幻觉的成分,笔者把这种感心境受渗透在作品中,也给粉丝越多想象的空中,非常多的留白是期待观众去添补它。

语NO.1 12x47cm 纸本水墨 2019

Language 1 15.5x65cm ink on Paper 2019

语NO.2 15.5x65cm 纸本水墨 2019

Language 2 15.5x65cm ink on Paper 2019

语NO.3 15.5x55cm 纸本水墨 2019

Language 3 15.5x55cm ink on Paper 2019

体贴入妙造型与心思表达及打桩内心精气神的准与深的涉嫌,是前段时间考虑与专心的政工。在提炼取舍中照料画面空间留白构建的氛围。而好些个的单个人物占领画面,也是指望净化画面包车型大巴内容激情,表现中的理智与约束。

郊游惊梦九45x30cm 纸本水墨 2019

Dreaming in the garden 3 45x30cm ink on Paper 2019

混淆的直觉,是眼下自家创作中保有新鲜感与好奇心的办法,有吸重力也会有挑衅性,是一种对大以为的把控,介于显然与不鲜明之间,忽视了过多细节,与守旧美术中的意象表明,目识心记,千人一面。生命中一而再体会最分明的片段促惹人的行文欲望,让一种直觉和罗曼蒂克的体会在既掌握控制又不明确中发挥,大概更能达到心性自然揭示的实质。所以,小编放纵这种认为,探寻水墨与素材间生发的有时性。那一个等第比过去其他时候都更能答应美术进度本人的不显著性和知觉,同有的时候候同意画纸的结商谈素材的物质性释放更加大的自由,来阐明自个儿的主张。

游园惊梦三45x30cm 纸本水墨 2019

Dreaming in the garden 3 45x30cm ink on Paper 2019

L: 在今世水墨中,图像是多少个绕不开的话题,您文章中的图像很有特性,能谈一下图像的源点与写作的关系吧?

无可奈何N0.1 0 纸板水墨 40x31cm 2019

Helpless 10 40x31cm ink on cardboard 2019

Y: 那是叁个被图像洗濯的时期,利用互连网电子通信等传播媒介中的图像生成小说,是意料之内的业务,图像与写作的涉嫌有了全新的意义。笔者更是关怀全数关于女性的图像或影象资料,比如时装、风尚设计、摄影、消息、报纸和刊物杂志等等时下现身图像的各个媒介。而富有能够选取的图像,都与自家个人的人命体验有直接的涉及,作者选择的图像,都以与自己心坎发生共识的,大概动作大概眼神,有的时候两个兼有,便最轻便激情表现的私欲。当然这里未有规律,其决议于民用不分明的认为。凡能用的,皆有着与内心当时与那个时候的心理。而共鸣的一些为浮动新的图像提供了生发的长空。图像的不明确性等于是人的不鲜明的感到到和意识,而利用这种感到的进程中,越来越多是私房主观在校订原有的图像,新的图疑似带着私家观念的,表明个人意图的新形象。因而,原有图像与人工的不显明性只怕模糊性,是协同生成新图像的财富。

无可奈何N0.18 纸板水墨 30x30cm 2019

Helpless 18 30x30cm ink on cardboard 2019

没骨的展现方法能更加好地在本身掌握控制之中,但又不完全在自小编预料之中,但它能落成图像的本性化和总体的力量,看似浑沌模糊了轮廓线,却又在尽情淋漓的作育中发出书写的线性感。尤其是,比较多传神的局地必需是三遍变动,无法动摇也无法再三调治,一步到位,那一点极具写意性。直觉在模糊与明显中游走,在可控与失控中变化自然功能,进程的壮志未酬和偶发性失措,反生了最生动的部分,由此脱身了繁多个人工的印迹,水墨自然变化的效用还要解放了人和素材间的烦乱,营造的影象在下马看花与说梅止渴中有了厚度与力度。

无奈N0.45 绘图纸水墨 30x44cm 2019

Helpless 45 30x44cm ink on photo paper 2019

小编的著述,无论单人依旧群众体育,都以带着个人独自的性命体验。逐步拉长的人物造型,直线与曲线及四周、点线的三结合,与画面全部空气与古板表明相互生发,表达现实中留存与虚无的嫌恶,以至绝望、孤独、伤感、无可奈何等等心境。

万般无奈N0.46 艺术纸水墨 30x44cm 2019

Helpless 46 30x44cm ink on photo paper 2019

L:您在呈现今世水墨的历程中,对资料有选用呢,依赖是怎么样?

无可奈何N0.57 布上水墨甲基 20x20cm 2019

Helpless 57 20x20cm Ink on canvas, Propylene 2019

Y: 对资料的追究与选择,是陪伴着理念思想和表述要求而爆发的自愿行为,由最先思维局限在敏锐的生宣,到目前不太渗水的质量,是撰写中叁个大的变型,因为不相同的材质确实创立了分化的视觉成效,也是作品杰出脾性的三个地点。但具备的资料和手艺,最终皆以来自表现的急需。当表明有了针对,是会超越质地物性的,超过物性的轻易表明是自身的动向。

万般无奈N0.67 布上水墨丙烷 30x40cm 2019

Helpless 67 30x40cm Ink on canvas, Propylene 2019

这年,在一而再三番一次抓牢女人题材的框架里,更如雷灌耳对水墨语言的斟酌,用水墨思维表明立刻心得,用水墨表现切入今世现实生活体验,表明自己对特性、人的心头精气神儿的构思与心得。让守旧与表现打得火热,是撰写中任天由命的专业。小编的近年撰写也是这一阶段的对策。

无助N0.69 布上水墨乙烯 30x40cm 2019

Helpless 69 30x40cm Ink on canvas, Propylene 2019

L:为啥起了“诧.紫”的名字?

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