尚未踏入过的世界 | 画意文心-返景 「展览&访谈」
欢迎来到木牙Make Unique Young Arts，让我们来探索心中属于自己的那份风光～
Summer quietly left in the blink of an eye, while the autumn comes slowly. Everyone has his own scenery in their mind, which could come from our memory of life, the combination of feeling from both virtual inner and reality, the real feeling of nature between id and ego, and the inner perception of life.When these scenes are altered by our thoughts and rendered by the art. They are becoming a new and unique scenery.
The most attractive world is the one that we have not yet been entered - Marcel. Proust. This section, We are honored to have Yu Chongwen, Liu Zhengxin, Chen Ma, Wei Shilong here at MUYA. Let’s follow them together and back to their unique landscapes and see places that no one else has ever seen before.
男 1984年生于丹东; 2007年毕业于鲁迅美术学院油画系第一工作室; 现工作生活于北京
Male, was born in Dandong in 1984.; He graduated from the first studio of Oil Painting Department of Luxun Academy of Fine Arts in 2007.; He stays and works in Beijing now.
Take "They Fell Asleep" as an example. The vivid and wonderful color presents a sense of life, which is another interpretation of death. What do you think of the use of vivid colors to represent the fear of death or tranquility?
Death is taboo for most people, and so am I. But fascinated by the moment when life is lost takes on a state of shock. The expression of painting is very limited. "They Fell Asleep" is a painting presented with realistic decorative painting methods. It may be is reluctance on, but also is self-deception to calm the soul.
➤ 木牙MUYA:光看您的画作，朦胧，透光，具有极大的写意色彩.画面中频繁出现了动物的身影。与您网站上的女性画作不同. 是什么让您改变角度开始关注在鸟类和羽毛？是否有某种暗示？而单独的雕塑画作又代表了什么？
Look at your painting, hazy, transparent, with great impressionistic colors. There are frequent images of animals in the painting. This is different from the paintings about women on your website. What made you change your perspective and start focusing on birds and feathers? Is there a hint? And what do individual sculptures and paintings represent?
Animal themes are my latest batch of works and are still continuing. I paint girls and flowers because I like them. The same goes for painting animals. Painting is a thing that pleases me. I don't pay much attention to what I want to paint today. A painter pays more attention to the picture itself. Too much explanation of the narrative and so-called expression of the work will make ambiguities, which is not what I should do.
If I have to say something, painting a statue is a tribute to the master. At the beginning of learning painting, I often copy the master's work. I have a deep understanding. It is better to copy a painting once a thousand times. It is a wonderful experience of observing the world with the eyes of a master. You can find the feeling of crossing time ，space and overlapping time on the palette. I drew a large group of sculptures before. I was very excited and the whole process was fun. I even saw details that I couldn't find when I saw the original work at the Paris Opera. The feeling of comfort in my heart is difficult for me to express in words.
1983年生于吉林省汪清县; 2006年毕业于吉林艺术学院美术学院油画专业; 2009年就读吉林艺术学院美术学院绘画专业硕士研究生; 2010~2013年学习创作于导师方力钧先生宋庄工作室劲草空间; 现生活于北京.
Born in Wangqing town, Jilin Province in 1983. In 2006, he graduated from the Painting major of Jilin College of The Arts. In 2009, he studied as a master of painting in Jilin College of The Arts. From 2010 to 2013, he studied and created in Jingcao Space studio of tutor Fang Lijun in Songzhuang. He lives in Beijing now.
➤ 木牙MUYA:您一直在尝试不同的画面呈现方式，很多都和中国传统绘画的山水有关。 我很好奇，在您看来，如何定义您所呈现的宏观世界的呢？是内心的一种宏观创想，还是展现出来给观者创造出来的一种宏观感受？
You have been experimenting with different ways of displaying paintings, many of which are related to the landscape of traditional Chinese painting. I am curious, in your opinion, how do you define the macroscopic world you present? Is it a kind of inner macroscopic creation, or a kind of macroscopic feeling created for the viewer?
In fact, in my opinion, the micro world is like a microcosm of the macro world, and the existence of them depends on how we place our observation point. Although I have been painting oil paintings, I have been practicing calligraphy since I was a child has given me a deep visual memory of traditional Chinese landscape paintings, which is why I present the temperament of such a natural texture of landscape paintings.
➤ 木牙MUYA:树皮是您对于微观和宏观世界的缩影，每张树皮都代表着一个世界，一个宇宙，或者一种风景...在自然科学里我们生活的世界被称为中观世界，在您看来，树皮这个媒介在用布面油彩的绘画方式呈现的过程中，它的功能性 / 角色扮演是如何发生转变的呢？
The bark is your epitome of the micro and macro world. Each bark represents a world, a universe, or a landscape... In natural sciences, the world we live in is called the middle world. Now, how has the function/role-playing of the bark medium been transformed in the process of painting with oil on canvas?
The content of my painting is based on the image of nature. The texture of the trees in the north is made up of many lives in the micro-world that we can't see with our eyes, maybe this is the creation of nature, the shapes they grow out of, and the artistic images of traditional Chinese paintings. It is so coincident, whether it is the composition or the content form, it contains countless kinds of changes and possibilities. So for me, one side is the awe of nature and the other side is the worship of traditional painting. I am just a transmitter, changing a medium, and putting them on the canvas.
1981年生于吉林; 2006年, 毕业于吉林艺术学院; 2006年, 长春南湖画展; 2007年, 北京草场地画展; 2007年, 创立渡兰工作室; 2013年, 北京宋庄艺术节; 2019年, 第二届“锦绣中华杯”全国书画艺术大赛; 2019年, 北京宋庄艺术节“快买艺术”; 2020年, “发现宋庄”写生邀请展
Born in Jilin in 1981.He graduated from Jilin College of the Arts in 2006. Nanhu Painting Exhibition, Changchun in 2006. Caochangdi Art Exhibition, Beijing in 2007. Founded Duolan Studio in 2007. Songzhuang Art Festival, Beijing in 2013. The second "Splendid China Cup" National Painting and Calligraphy Art Competition in 2019. Songzhuang Art Festival "Quick Buy Art", Beijing in 2019. "Songzhuang Discovery" Invitational Exhibition of Sketching from Life in 2020. painting Wenxin "Return to The Scene" exhibition of four contemporary Paintings in 2020.
In the process of collecting and painting, the natural scenery, clouds in the sky, and light are constantly changing. In the process of your creation, how do you capture the colors in a short time and freeze the momentary scenes of the beautiful world?
As you said, the natural world is constantly changing, and it would definitely be unrealistic if the picture and the object to be depicted correspond to the aesthetics. Fortunately, oil painting is an art that expresses the author's feelings through the medium of paint. Every time I face the natural scenery, I will first have a feeling, and then all the visual phenomena that come into my eyes serve this feeling and then realize it with a brush, color, oil, and other painting materials. What I freeze is not color and momentary scenes, but feelings.
There are many paintings of country life. What is unique about you? Your field of expertise and things you like and form it becomes your current style after filtering through life. Do you want to get a real change through your paintings? Or is it the paintings that are just reminiscent of the beauty in memory?
I think my uniqueness is my feeling. Everyone’s feelings are different. This is also everyone’s style. What I am good at and what I like is painting. Those things combine together are what I have been feeling in the world where I live. And I will express it through my painting.
1983年出生辽宁省抚顺市; 2006毕业于吉林艺术学院油画专业; 现工作和生活在北京
Born in Fushun, Liaoning in 1983.He graduated from the oil painting major of Jilin College of The Arts in 2006. He lives and works in Beijing.
Your paintings are all with a certain sense of haziness and uncertainty. Just like dreams, are the scenes of your works a portrayal of life you have experienced, or you are fantasy scenes?
Your paintings are created by the repeated accumulation of colors for creating the sense of a blurred scene. From the viewer's point of view, your paintings have a feeling of freeze-frame presentation under extreme speed scenes. I am curious how you view the blurred style of your paintings?
I think these are two good questions, and I can answer them together. First of all, I think that the work must be related to life. I and my life add up to give me the feelings of myself, and the work is the expression of feelings. All expressions that are out of self are expressions that have lost their souls. Even the idea of fantasy requires a source. I cannot understand something that pumps out without any reason. Of course, this may be beyond the scale of my cognition, and I did not say that it must not exist.
I am often moved by some beautiful things. It may be a distant mountain in the early morning, it may be a dense forest, or it may be a piece of withered wildflowers or a beautiful girl. This kind of beauty is touching, but the beautiful things are fleeting, just like the two rainbows that appeared in the sky this afternoon and the burning clouds in the evening. They are beautiful and short-lived! From the perspective of time, they disappeared, but they are frozen in the spirit and become a kind of feeling and memory. This kind of memory is different from photography, and more of my personal emotions, those are my happiness and pain. Those emotions are also mixed in my work. When I recalled that feeling again, there was like a memory with more emotion in it.
I did not deliberately create a blurred image, what I want to control is the visual effect, a suitable visual effect that matches the current mood, and moves me for mine creation. The content that the picture itself could carry is very limited. My narrative is very open. I hope that the picture is "living". The viewers have their own emotions and understanding of the painting. The picture is definitely not the only meaning. There will be different understandings of different emotions.
How long is your creative cycle? How do you see the status quo of artworks that have become auctioned goods after they have entered the market?
Let me answer the first question first. I often paint several pictures together. I paint three to five pictures at the same time in a month or two. After I focus on a painting for a long time, I don’t feel anything, so I can change my mind and switch to another. It can also improve efficiency. If I usually have any good ideas, I will write them down first, don't worry about drawing them, and if the feel still there after a while, I will start painting them. As for the inflow of art into the secondary market, I haven't things to say. I just hope that there will be more and more real shots and fewer fake ones.
✤ 日期: 8月29日（正式开幕）/ Aug.29 open night
✤ 内容: 画意文心-“返景”四人油画作品展
✤ 地址 / Address: 北京市东城区沙滩路的玺庭空间