聿间观林-潘剑个展 Seeing the Forest through the Brush – Pan Jian SoloExhibition

2018.5.5-2018.6.10

聿间观林-潘剑个展

Seeing the Forest through th Brush - Pan Jian Solo Exhibition

艺术家 | Artist: 潘剑  Pan Jian

策展人| Curator:艾墨思 Thomas Eller

开幕时间 | Opening Ceremony:2018年5月5日 16:00

展览时间 | Duration:2018年5月5日-2018年6月10日




 艺ž凯旋画廊荣幸地宣布将于2018年5月5日举办潘剑在艺ž凯旋画廊的首次个展《聿间观林》,展览将呈现潘剑创作于2013年至2017年的一系列绘画作品。

 潘剑近期作品的画面在第一眼看上去似乎呈现了枝桠、叶片和树林,然而目所能及的一切只有画布上的色彩,在艺术家的安排下,这些色彩似乎为人们呈现出一枝一叶一木一林。然而,倘若无人观看的话,这些树木又是否存在于潘剑的画布上?

 这是潘剑绘画中的悖论。画面仿佛流淌着一种能量,超越了存在的物质表面,而将观者带向另一重维度。艺术家对色彩的使用是节制的,这些以灰和银为基调的新作唤起了人们对于黎明初降的感受:晨光熹微,目所能及的只有物体灰色的轮廓和阴影。这些画作高度凝练地传达出长夜无眠过后,微光初现的情形——环绕四周的则是无边的寂静。

 通过铃木大拙和艾伦·瓦茨在美国的讲习和推广,东方的道家与佛家思想在1930年代开始流行于西方。此后,禅宗思想对一批从再现传统解放出来的艺术家产生了深远影响,他们开始追求某种更直接,瞬时的东西,将人们的关注逐渐引向纯粹的能量。有趣的是,当上一辈西方艺术家被亚洲传统文学、书法和水墨艺术所激发灵感,我们看到今天的中国艺术家也在西方艺术中寻找方向。在当代中国艺术家的作品中,似乎抽象艺术(或更确切的说,非再现性绘画)需要经历一个完整的循环,再回到自己。这样看来,我们也不会惊讶于潘剑的作品不断地走向抽象,直到画面上所有的再现性痕迹都成为绘画过程的纯粹显现。

 潘剑通过中国毛笔而发展出他自己独特的绘画方式。若我们凑近细观,会发现画面上留下的是一个相当复杂的过程,它分别包括笔触的运动、色彩的滴落、砌上干性颜料并以清水冲洗和挥洒等等环节。有一点是很难第一眼就被发现的,那就是艺术家在构思画作的时候其实利用了摄影,或者更准确一点说,使用了类似摄影的表演方式。他请助手将空白画布铺在夜晚的街道上,靠近路灯的地方。潘剑自己则用相机记录下树投在画布上的影子。夜晚的树影于一瞬之间轻柔地抚摸着画布,而这些都发生在艺术家的妙笔触碰到画面之前。

       无论在生活中还是艺术中,潘剑都深深植根于两种不同的文化。他的绘画实践似乎可以从西方油画传统中得到充分的说明,而萦绕其间乃至超越形体的却是一种彻底的中式的感性。中国风景是他经营画面的大背景。这些大型绘画仿佛来自中国传统山水画中一个指甲盖般大小的细部,它们似乎在向一幅传统山水做无限地接近和放大……随着这运动,我们渐渐看清:叶片,枝桠,树木……

 潘剑的画面似乎很难一下子就被全然理解。相反,这需要观众去放慢和打开自己,花工夫细细体察其中的着重之处。这些绘画期待人们凑近,再移远,如此反复观看,去发现其复杂精妙。


Triumph Gallery ispleased to present “Seeing the Forest through the Brush – Pan Jian SoloExhibition” on May 5th, 2018 at Triumph Gallery. This exhibitionwill present Pan Jian’s works created during 2013 to 2017.


Branches, leaves and trees are seems as thefirst and most obvious things that we can recognize on the recent works by PanJian. However, all you can see is paint on a canvas that is organized in a waythat it appears as if one would see a leaf, a branch, a tree. But, If no onelooks, are there trees on Pan Jian´s canvasses?


This is the paradoxin Pan Jian’s painting. His works radiate an energy that transcends thephysical “tree-ness” and transport the viewer into another dimension. Veryreduced in color, the artist’s new silver and grey paintings create a sensationof early morning twilight in a forest when there is just enough light again tosee things in shades of grey. The paintings have that heightened sense ofawareness that happens sometimes when dawn arrives after a sleepless night – andthere is this incredible silence.


Daoist and Buddhistideas became very influential in the West in the 1930s, when D.T. Suzuki andAlan Watts started teaching in the USA. Consequently Asian philosophy becamedeeply inspiring to a group of artists that moved away from representationalpainting traditions in order to catch something much more immediate, andguiding everybody towards the search for pure energies. In an interesting twistChinese artists today look at Western art for guidance, when an older generationof Western artists were inspired by Asian traditions in literature, calligraphyand ink painting. Abstraction in art (and more specifically un-representationalpainting), it seems, needed to go full circle to arrive now again in the worksof Contemporary Chinese artists. So it is not surprising to see Pan Jian pusheshis work more and more into abstraction until whatever representational tracesleft in the paintings become pure manifestations of the painting process. 


He has devised hisvery own particular way of painting mostly using Chinese brushes. Upon closerobservation one can see that there must be a very complex process that involvesbrush strokes, dripping of paint, blowing of dry pigment and washing andsprinkling with water. What is not so obvious at first is his use ofphotography, or more precisely a sense of photographic performance inpreparation of his works. His assistants carry empty canvasses outside by nightlooking for trees next to street lamps. The artist then takes photos of theshadows that the trees cast directly onto the canvas. The trees in Pan´spaintings, their nightly shadows ever so gently touching the canvasses for amoment, before the brush does its transformative magic. 


As a person and asan artist, Pan Jian is deeply rooted in two worlds. While his painterlypractice can completely be described in the context of a Western oil paintingtradition, there is a very Chinese sensibility at work behind the scenes.Chinese landscape is the background in front of which he develops his work.Each of his large-scale paintings feels like a fingernail-sized detail of atraditional Chinese landscape. It is like getting incredibly close with theelements inside a traditional landscape … a movement which reveals the minutestof details: leaves, branches and trees …


It is impossible tosee his paintings for just a few seconds and believe to have understood them.The works require you to slow down and open up. Spending time is an essentialpart in the experience of the works. The paintings want to be seen up close andthen again from a far distance to reveal their complexity to the viewer.