李关关个展:切入、王濛莎个展:悬浮 Li Guanguan solo exhibition:Cut-in、Wang Mengsha solo exhibition:Suspension

2017.6.10-2017.7.10

学术指导 | Academic chair:              王 萌 | Wang Meng        

策展人 | Curator:                              李兰芳 | Li Lanfang              

艺术家 | Artists:                                李关关 | Li Guanguan

                                                          王濛莎 | Wang Mengsha

开幕时间 | Opening:                           2017.6.10(周六/ Sat.) 16:00

展览时间 | Duration:                           2017.6.10-2017.7.10                 

                                                      


李关关的本次个展设置在一个安静的观看环境中,让视觉“凝视”在均匀亮度的作品上,体验画面的净远气质与图像质感。二分之一、三分之一经常是李关关的作品使用的名称,题目在一定层面上体现出艺术家对视觉切入角度的潜在观念,某种程度上也是进入艺术家创作内在逻辑的思维路径。

马是李关关最先开始的创作题材,选择不同角度的观看和切入角度去“构成图像”是李关关的作品呈现出来的一种“视角感”,她画马不求整身,而是让图像进入“选择性”的局部进行特写并发挥中国画诗意化的美学效果。李关关用“切入图像”的方式进一步延续到新的题材,本次展览展出的新作《二分之一木》系列延续了这种视角,在客体转换的“切入逻辑”中完成了局部对整体的替代,她更少地去使用线和染,而更多考虑“光感”和“质地”,刻画对象的“纹样”成为一种对象表现的意志。在这里李关关将镜头拉近,让作为对象的“木”进入特定光度的视觉逻辑,形态、纹样、质感和结构成为“切入”的方式,图像在这种观看的凝视中显现为独特的画意。李关关提取水墨精神的特定元素,如气质、意态、诗性、远境,将它们带入创作的语境,也将图像方式的光感、质地、角度等视觉因素与其衔接,传递出安静与个性的气息,在图像如何散发气质的课题中提供了一个视觉切入的文本。

 

在王濛莎的作品中,我们总能够感受到一种不按常规出牌的视觉层次,画面中所有出现的形象和符号不再完成“线性的叙事”,它们的大小关系和主从次序被解构于一片灿烂而雅致的“悬浮中”。这是形象和符号跳出日常理性八尺之外,用感性知觉去发现日常秩序下被遮蔽的可能性,从而在日趋同质化的世界中摆脱被他者同化命运的一种自我救赎。因此在这样的“构图”之中,“悬浮”成为王濛莎反对固化从而通向精神自我实现的一种视觉语法。

“天趣”是王濛莎作品中成功实现的一种烟花烂漫的气质。在《序曲和序曲》中,涂鸦的野气让点线面的形式传达出天马行空不受规则制约的内心心念,随意的笔性和形象的“写意性”构成了一种打破教条的叛逆,画中鸳鸯浮绿水、彩蝶空中飘,与那些可辨认和不可辨认的视觉元素交织,引人思考同为“容器功能”的红宝瓶和绿葫芦里到底隐藏了什么样的隐秘信息。《半摇青天月》满含人间烟火味,园林赏石、亭台屋舍、花开富贵、蝴蝶纷飞、喜鹊枝头、鸳鸯戏水、仙鹤祥云、花好月圆,每一种事物仿佛都被提炼到它的本体,既回归质地也散发出一种人间的温情。《绿如蓝》、《彼岸花》、《瑶台梦》、《念云》、《蓬莱四屏》、《然而一切已完成》、《小金蝶》、《璎》、《不要想读懂我的诗》,每件作品都富于幽默地散发着出乎意料的效果,率真与怪异、雅致与甜美在画中达成默契,画面既荒诞不羁又不乏文人气质。


  In Li Guanguans solo exhibition,a quiet environment is provided for the audience to gaze at the uniformly illuminated works from them to be immersed in the remoteness and the texture of the images. Frequently entitled One Half or One Third, which offers an access to the artist’s creating rationale, Li Guanguan’s works reflect her potent concept of the cut-in angle.

  Li Guanguan initiated her paintings with the subject of the horse. Choosing different viewing and cut-in perspectives, Li Guanguan composes her images with a sense of “angleness”. The horse does not appear in its entirety in Li Guanguan’s works; instead, it is assigned part of the painting to facilitate a poetic aesthetics.In this exhibition, the cut-in approach is also extended to a new subject with her work of One Half Wood. In the conversion from the part to the whole, facilitated by the logic of cut-in, Li Guanguan prefers the perception of light and texture in lieu of lines and hues to demonstrate her will to portray the pattern of her subject. The image attains a unique painterliness in the gaze of its viewer as a result of the wood cutting into the painting carrying specific poses, patterns, texture and structures. Therefore, by aligning the characteristics of water-ink—temperament, connotation, poetry and remoteness in the painting context, with such visual elements like perceptions of light, texture and angles, Li Guanguan’s works exude a quiet and personalized atmosphere and serve as adequate examples of how to imbue the image with temperament by way of visual cut-in.

  In the works of Wang Mengsha,the audience unexpectedly encounters multi-layered visual images. The linear narrative is no longer the final destination for the images and symbols to arrive at; instead, their sizes and orders are deconstructed among a blooming and elegant mass of suspension. Thus, a particular visual grammar is constituted, in which the semantics of images and symbols acquires a kind of freedom from the status of suspension, rather than being confined to the narrating rules. " In other words, everything breaks away from their quotidian state and acquires the ability to suspend through the equating of two forces—the gravity of consciousness in the realistic order and the unconscious buoyancy in the artist’s dreamland. In this way, the image and the symbol achieve self-salvation from being assimilated into a homogenized world by alienating themselves from the everyday logic and discovering the hidden possibilities in a more sentient manner. Consequently, with such a composition, “suspension” becomes a visual grammar through which Wang Mengsha attains self-realization of her spirit.

  A glamourous and innocent temperament, or “natural joy”, can be happily found in Wang Mengsha’s works. In Overture and Overture, the wildness of graffiti in the forms of points, lines and shapes convey her unfettered spirit. These willful strokes, combined with the impressionistic style of images, constitute an unorthodox rebellion. The swimming mandarin ducks and the fluttering butterflies are woven among other less distinguishable elements, generating speculations about the secret message of the two containers—the red treasure bottle and the green gourd. In Moon in Blue Sky, every object—the stones in the garden, the pavilions and cottages, the blooming flowers, the fluttering butterflies, the magpies nestling in the trees, the frolicking ducks, the heavenly cranes in the cloud and the thriving flowers under a full moon, returns to its essence laced with human warmth. In Blue & Green, Flowers on the other shore”, Dreams in Yaotai, Reading Cloud, Four Screens in Penglai, But Everything is Done, Little Golden Butterflies, Jadestone and You shall not Understand my Poems, an understanding is created between straightforwardness and oddity, elegance and sweetness, lending a sense of humor to the unexpected result featuring absurdity and scholarliness.