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.


Qinluyun, Beijing

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

10 May 2012


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


Exhibition Location: Beijing Enjoy - Art Museum C Room


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

序言 鲁虹 128 x48.5cm 128x48.5cm

Preface LuHong 128x48.5cm






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



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


豪彩vip,云蒸霞蔚 布上水墨、十四烷40x30cm 2019

Colorful 4 34.5x34.5cm Cardboard ink 2019


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



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


郊游惊梦九45x30cm 纸本水墨 2019

Dreaming in the garden 3 45x30cm ink on Paper 2019


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


无奈N0.45 绘图纸水墨 30x44cm 2019

Helpless 45 30x44cm ink on photo paper 2019


万般无奈N0.46 艺术纸水墨 30x44cm 2019

Helpless 46 30x44cm ink on photo paper 2019


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


无助N0.69 布上水墨乙烯 30x40cm 2019

Helpless 69 30x40cm Ink on canvas, Propylene 2019



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