展览时间2019.11.09——2019.11.15

开幕时间2019.11.09(星期六)下午2:30

策展人赵凤杰

艺术家:曹惠娣 / 沈畅 / 刘亮宏 / 杜文雯

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Date2019.11.09—— 2019.11.15

Opening Reception2:30pm,November 1,2019(Sat.)

CuratorsZhao Fengjie

ArtistsCao huidi / Shen changLiu lianghong / Du wenwen

 


 

INSIDE

/前言

当镜子摔落于地

自诞生以来,艺术始终处于一种积极的解离状态,西方从拉斯科洞窟到万神庙、从哥特式到洛可可、从现实主义到印象派再到达达主义,东方艺术也一路在饱含东方哲学的推进下促成更好的圆满,艺术吸收了各方营养,从单一和扁平逐渐发展成厚重且深刻。无论是个体的诉求或是群体的祈愿,艺术首先是一个独立的学科,它像一面镜子反射出自然景观、人文特色更多的是人的内心。

以艺术为镜,最早的艺术是完整的平面,仅反映出简单的先天禀赋,但当镜子摔落于地,在下坠至更朴素的真理的过程中碰撞上早已埋下伏笔的钝点与利器,在一定范围内解离成支离破碎的模样。这些碎片化的情节稍稍偏转至各自不同的角度,映照出更多样化的物象,在原本的范围内拓宽出新的领域,结合后天的意识,用思考把自身送到更广阔的场域中间。

此次展览的艺术家杜雯文、刘亮宏、曹惠娣、沈畅也是艺术这面逐渐破碎镜子中的小小碎片,他们不仅在各自的作品中反射出他们所拥有过的经历与现存的世界观,更通过自己的手法将支离破碎的片段裁切缝合成了一个全新的真相。这一点在致力于表现景观社会对个体认知存在干扰关系的杜雯文的作品中可谓是相当直观,他的作品收集了大量工业印刷的现成图像结合多种手法拼贴重组而成,有种明朗的戏谑和扑面而来的现代感。

刘亮宏的作品则明显浸润在东方哲学影响下,用绘画的方式关切环保的话题,中国画式的选题与用色,用素雅的平衡反讽热烈难堪的严峻形式,仿佛在暗示即将失去色彩的病态溃烂的世界。曹惠娣则专注于刻画斑驳破碎的洋娃娃,用阴郁的冷色描绘少女的焦虑,这是对遗留在生活缝隙中的美好的惋惜。如果说前三位艺术家是议论文,那沈畅则是个不折不扣的记叙文,她的作品本身不掺杂过多个人情感,只是对生活细节的再现。虽然只是客观再现,但带有她的视角抓取出的物象呈现出和她最大的一致性,即对生活饱含了热爱,开朗又调皮,带着赤子一般的热忱。

这四个碎片虽然渺小但反射出最大化的人性,透过阳光,显出夺目的光彩。

赵凤杰

2019年10月

 

 

When the Mirror Falls

The art has been always in a kind of positively dissociative state ever since its birth, the West from Lascaux Cave to Pantheon, from the Gothic to the Rococo, from the realism to the Impressionistic then to Dadaïsme; the East has also been pushed forward to be much more successful all the way in full of oriental philosophy through absorption of nutritions from different directions, and developed from the mono and flat into the thick and profound. The art is firstly a type of independent discipline no matter the demand from the individual or the supplication from the group, and it’s just like a mirror that reflects natural landscape and humanity style, what’s more is the inner mind of people.

Taking the art as the mirror, the earliest is the complete plane, which only reflects the simple yet native endowment, when the mirror falls, however, it dissociates into the broken appearance in a certain range during the process of falling into the more plain truth when in collision with the earlily-paved blunt point and edge tool. More diversified images will be mirrored when these fragmented plots deviate a littlle to their own different angles, the new field be expanded in the original scope in combination of the acquired awareness and itself sent into the more vast field by thinking.

The artists Du Wenwen, Liu Lianghong, Cao Huidi and Shen Chang of this exhibition are also the small fragments in the gradually broken mirror of the art, they not only reflect their own experiences and existed outlooks of the world in their individual work, but also trim and suture their own fragmented episodes into a completely new truth through their own methods. At which point that it’s quite visual for Du Wenwen’s work in dedication to reflecting that the society of landscape interferes with the individual cognitions, and his work has collected plenty of the industrially printed site images restructured and collaged by several methods, presenting the clear, stunning and floating modern sense.

Liu Lianghong’s, however, concerns the friendly environmental topic in the method of drawing apparently soaked in and affected by the Eastern philosophy in the Chinese painting style and tone, and the severely embarrassing form in plain balanced and ironic methods, which is likely to imply the sick and rooted world about to lose the color. Cao Huidi’s focuses on depicting the mottled and broken doll, describes the young girl’s anxiety in gloomy cool color, which is the pity that the beauty stays in gap of life. If say the previous three artists were the augmentation, then Shen Chang would be the out-and-out narration, his work actually will not involve in too much personal emotion, but the reoccurrence of life in detail. Althoughit’s just the objective, the image captured with his angle shows his maximum consistency, that’s full of love for life, outgoing and naughty, and ardent with pure heart.

These four fragments reflect the maximum humanity though small, and shine the dazzling glory through the sunshine.

Zhao fengjie

November 2019

曹惠娣  Cao huidi

2018年攻读四川美术学院油画系硕士

 

作品阐述

《生活缝隙系列》作品简介:画面中所使用的洋娃娃的形象呈现一种精致甜美模样,衣着华丽。洋娃娃多是小孩子幼年时期陪伴左右的玩伴,随着时间流转则变成生活缝隙中的遗留之物。我比较喜欢使用反光程度高的画面元素,这样的画面便可形成一种闪烁的凝聚之感,并且使用轻薄蓝紫色笼罩在画面之上营造一种斑驳、破碎质感。

沈畅  Shen chang

2017年攻读四川美术学院油画系硕士

 

作品阐述

绘画于我像一泓清泉,有时我酣畅豪饮,有时我细斟慢酌,我爱画画,也爱生活。

我的这一系列创作是从2017开始,《莫门特》系列是我对生活记录的同时亦是我对于艺术即生活的初次体验,我最开始的尝试材料是马克笔和水彩,方式也是写生和照片结合的方式进行,马克笔和水彩都便于携带走哪画哪儿,这是我第一次在生活的中尝试到了绘画的乐趣。

画了部分的小色稿之后我开始尝试用油画材料进行二次创作,在第二次的绘画过程中,更多的是对生活的回味,我大概是个乐观的人,在回忆中这些图片发生的某一天都是我不可逆转的一天,也正是这样每一日的平凡乐观,融入了我今时今日的血脉,我的《莫门特》系列鲜活而生动的展示了当下日常。

刘亮宏  Liu lianghong

2016年攻读四川美术学院油画系硕士

 

作品阐述

我是一位环保主义者,面对日益严峻的环境问题,我选择用绘画的方式来表现一个病态溃烂的世界,以此警醒世人珍惜眼前的一切。从自身所处的环境出发,从吃的食物,精心呵护的花草,到身边熟悉的人,都成为构建这个世界的部件。

杜文雯  Du wenwen


2017年攻读四川美术学院油画系硕士

 

作品阐述

我的作品创作主要表现当下景观万象对个体视觉认知的干扰。以此主题为切入点,表现出个体对现代消费社会的看法。  在当下我们面对的是一个景观社会,审美现代性与社会现代性的矛盾触发了当下景观社会的产生。当然景观社会这个概念,是二十世纪60年代法国思想家居伊•德波伴随着西方情境主义的产生而提出来,但在媒体技术不断发展的今天,日益影响着人类的认知以及生活方式,人们的生活被爆炸的视觉图像所充斥,而虚拟现实技术的到来,让这种状态愈发显得明显。我的创作以解构式认知方式反映自身对当下景观社会现状的思考。


 

/开幕现场回顾

2019年11月9日(周六)下午2点半,【当镜子摔落于地】群展于白空间正式开幕。本次展览展期为7天,展出了四川美术学院造型艺术学院油画系四位研究生(曹慧娣、杜文雯、刘亮宏、沈畅)的油画创作作品。

 

/开幕式发言现场

在开幕式现场,艺术家曹慧娣、杜文雯、刘亮宏、沈畅相继致辞,依次向现场观众解析自己的作品、分享创作感想,并向各位工作人员与到场来宾致谢。在开幕式尾声,川美当代艺术研究所孔维强先生进行发言,对四位艺术家的作品做出了自己的点评。

艺术家 曹慧娣发言

艺术家 杜文雯发言

艺术家 刘亮宏发言

艺术家 沈畅发言

 到场嘉宾 孔维强先生发言

发言现场

艺术家与嘉宾合影

 


 

开幕式结束后,艺术家带领嘉宾和现场观众参观自己的作品,并一同交流创作心得。

 

……END……


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