近期展览
六月曼陀罗/陈一颖个展【展览预告】
发表时间:2023-06-14     阅读次数:

https://v.qq.com/x/page/m3518qyoner.html?sf=uri


展览时间:2023.06.17——2023.07.03

开幕时间:2023.06.17(星期六)下午4点半

策展人:陈姣皎

艺术家:陈一颖

展览助理:常荣华、程丹


Date2023.06.17——2023.07.03

Opening Reception:16:30,June 17, 2023(Sat.)

CuratorJiaojiao CHEN

ArtistsYiying CHEN

Exhibition Assistant:Ronghua CHANG、Dan CHENG







前言 perface


自然与画意:温柔的疗愈


今天,科技与技术迭代迅猛,从工业4.0到无土栽培技术,再到大规模的城市化、信息化;从互联网、物联网到元宇宙,我们的时代被各种耀眼的新名词所牵引,周遭的一切生活被碎片式的信息所裹挟,一切逐渐归于数字习俗,引导进入一个貌似“未来”的时代;几乎的生产、生活、沟通已经被工具理性所填埋。同时,2023年的前半年,Chat-GDP、 Middle-journey等一系列新人工智能技术的发布,占据了全球前半年的头条热搜,“自然”这个词好像正在离我们远去。过去,人类以经验累积作为核心的智识构成,正被挑战得瑟瑟发抖;甚至,连被认为不可取代的创作领域如设计、绘画、音乐创作等也正沉沦,也许很快的未来新算法、AI、芯片技术就会将我们一键取代。
陈一颖,一个曾经的建筑景观设计“老炮”,拥有10余年的项目经验,也许曾经也是经历过无数次脑力、经验捶打的创作者,她拥有着自己行业内游刃有余的履历和经验,在她专业内她应该是自信的。但是,大约从2017年起,她重新拾起画笔,开始了属于“一个人”的水彩“事业”,并成为了朋友眼中“有毅力坚持画画的设计人”。实际上,2017年到2023年,设计人陈一颖不仅成为了“有毅力坚持画画的设计人”,另一面她也成为“有毅力坚持画画的母亲”。画画这个点,成为了链接设计人这个职业角色和作为母亲这个家庭角色的聚焦点。“有毅力坚持画画+”对于设计人陈一颖而言表达了一种对“才思枯竭”的恐惧;而“有毅力坚持画画+”,对于母亲陈一颖而言,是家庭身份与社会认同间徘徊的另一层焦躁。
站在时代发展的大背景下,看个体——陈一颖,她也许有各种身份的焦虑和彷徨,也许在她内心渴望如宋徽宗那种“丹青难下笔,造化独留功”后对芳香浓艳、娇羞如醉、黄昏霞光照的迷恋。可是,现实也许给这个时代的人太多指令,我们已经遗忘作为人的内心独白。中国文化中追求与自然的和谐生存,就是传统。这种传统曾深入骨髓,最明显的证据就是这种传统早已融入中国人的器物美学、建筑美学、城市规划中。作为当代设计人,探索人与自然关系应该才是当代中国美学本体的延续,而现实设计中的建筑“方盒子主义”,以及流水线般的批量化设计生产,与传统背道而驰,令人疲惫消磨,同时也给设计人陈一颖某种文化身份上的焦虑。也许她的内心时常渴望“天人合一”的境界,但现实的冲击下总需妥协,甚至技术化的效率提升,也每每令人窒息;现实中的美学实践可能只是各种叠buff的结果。
从水彩的媒介而言,水彩是一种充满历史经验的材质,从最古老的水彩基材,包括石头、象牙、丝绸、芦苇、纸莎草纸、树皮纸、牛皮纸、皮革、织物、木材和水彩画布(涂有专门为水彩画配制的石膏)等材料,水彩好像可以充斥在各种表面涂抹。古拉丁语中,水彩写作aquarellum atramento——一种墨水制成的彩色画,因此西方艺术史学界甚至把中国画也算作了水彩。当代水彩绘画定义更为狭义,主要是指冷压纸品上具有透明度的绘画。18、19世纪的欧洲水彩是透视绘画练习的最好材料,甚至直到18世纪中叶的意大利,著名绘画大师马尔科.里其(Marco Ricci)和弗兰西斯科.祖卡雷利(Francesco Zuccarelli)才将水彩绘画引入了风景绘画学院领域。19世纪的英国,透纳(J. M. W. Turner)又用水彩绘画将浪漫主义、自然主义推向了高潮。也许人类在感知上总有着隔着时空的相似,18世纪的意大利,在无数巴洛克耀目的创作后,也许那个时代的人感觉到了极度疲乏,便想到了更为精准、简便的材质水彩。19世界中叶的英国,正好也面临着工业革命所带来的变革,时代风云中艺术家透纳也许意识到水彩更符合那个时代的挣扎,更好表达人亲近自然的态度,他也选择了水彩。今天,在技术再次迭新的时刻,设计人陈一颖也选择了水彩绘画,也许这个选择并非为创造艺术史书写与延续,却是选择与诸多变化时代其他人们的一次亲密对话。
陈一颖的水彩实践,大致分为三个阶段。第一个阶段可以看做她对自我身份的寻找,第二个阶段是对绘画对象的讨论,第三个阶段正好是对其他个体生命状态的凝视。在第一个阶段中,陈一颖只是追求形式上的适应,画面中过分强调透视关系和事物的精准性。第二个阶段,大致是2018年前后,其中《云与山路》、《山与湖》与早期的《访古》、《西南农村小景》有着根本的心理视觉区别,展示了更明显的自我精神寻找;而到第三个阶段,尤其到2022年,可能因为个体与社会的被迫隔绝,她开始尝试人像练习。也许处于潜意识的尝试,很容易让人联想到20世纪初,后印象派艺术家用水彩对视觉艺术语言的边界的探索,就像塞尚(Paul Cézanne)用水彩中特有的色彩透明表达人物苍茫的精神气质。
绘画,是人手与脑的同频表达,有时可能会“词不达意”,视觉呈现成果是人内心建构的证词。一如材料的选择,图像的建构,不过是拿着工具的人,脑中思想花火的释放。有人可能说中国东方审美的致高境界就应该如范宽、郭溪、李唐般存在,缥缈、轻盈、迷雾的湿润和放纵,人行于山水,匆匆过客,除去谦卑,就是天地中的自由梦境。但是,哪怕在西方艺术世界中,人类都有共情之处,透纳那几笔间的惊涛骇浪、雨后黄昏、宁静渔港……与范宽、郭溪、李唐又有何实际区别?艺术作为最温柔的疗愈方式,以艺术为媒介作为主要表达和交流方式,其实就是给予实践者有效的心灵按摩;火热奔放,如盛夏来临,六月雨后,妩媚的曼陀罗,依然绽放着柔软的清雅。
策展人:陈姣皎


Nature and Painting: Gentle Healing


Today, science and technology are iterating rapidly, from Industry 4.0 to soilless cultivation technology, and then to large-scale urbanization and informatization; From the Internet, the Internet of Things to the Metaverse, our era has been pulled by various dazzling new terms, and all the life around has been bound by fragmented information, all of which has gradually been attributed to digital customs, leading to a seemingly "future" era; Almost production, life and communication have been buried by Instrumental and value rationality. Meanwhile, in the first half of 2023, a series of new artificial intelligence technologies such as Chat GDP and Middle journal were released, which dominated the global headlines in the first half of the year. The word 'nature' seems to be leaving us behind. In the past, the intellectual structure of human beings centered around the accumulation of experience was being challenged and trembling; Even the creative fields that are considered irreplaceable, such as design, painting, Musical composition, are sinking. Maybe new algorithms, AI, chip technology will replace us in one click soon.
Chen Yiying, a former architectural landscape design expert with over 10 years of project experience, may have also been a creator who has experienced countless intellectual and experiential challenges. She has a skilled resume and experience in her industry, and she should be confident in her profession. However, around 2017, she picked up her paintbrush again and started a watercolor "career" that belonged to "one person", becoming a "designer with perseverance and perseverance" in the eyes of her friends. In fact, from 2017 to 2023, designer Chen Yiying not only became a "designer with perseverance in painting", but also became a "mother with perseverance in painting". Drawing this point has become the focal point for the professional role of link designers and the family role of mothers. For designer Chen Yiying, 'perseverance in painting+' expresses a fear of 'exhaustion of talent'; For her mother Chen Yiying, 'having perseverance and persisting in painting+' is another layer of anxiety that lingers between family identity and social identity.
Standing in the background of the development of the times and looking at the individual - Chen Yiying, she may have anxiety and hesitation of various identities, and may be obsessed with the fragrance, shame, intoxication, and dusk glow after she yearns for the Emperor Huizong of Song style of "painting is hard to write, and nature keeps its own merits". However, reality may have given too many instructions to people in this era, and we have forgotten our inner monologues as humans. The pursuit of harmonious survival with nature in Chinese culture is tradition. This tradition has been deeply rooted in the bone marrow. The most obvious evidence is that this tradition has long been integrated into Chinese aesthetics of utensils, Philosophy of architecture and urban planning. As a contemporary designer, exploring the relationship between humans and nature should be the continuation of the essence of contemporary Chinese aesthetics. However, the "square box doctrine" of architecture in real design, as well as the mass design and production of assembly lines, run counter to tradition and are exhausting, while also giving the designer Chen Yiying some cultural identity anxiety. Perhaps her heart often yearns for the realm of "Unity of Heaven and humanity", but under the impact of reality, she always needs to compromise, and even the improvement of technical efficiency is often suffocating; The aesthetic practice in reality may only be the result of various stacked buffs.
From the perspective of watercolor media, watercolor is a material full of historical experience. From the oldest watercolor substrate, including stone, ivory, silk, reed, papyrus, bark paper, Kraft paper paper, leather, fabric, wood and watercolor canvas (coated with gypsum specially prepared for Watercolor painting painting), watercolor seems to be able to fill all kinds of surfaces. In ancient Latin, watercolor was written as aquarellum atramento, a kind of color painting made of ink, so the western art historians even regarded Chinese painting as watercolor. Contemporary watercolor painting has a narrower definition, mainly referring to paintings with transparency on cold pressed paper products. 18. In the 19th century, European watercolor was the best material for practicing perspective painting, and it was not until the mid-19th century in Italy that renowned painting masters Marco Ricci and Francesco Zuccarelli introduced watercolor painting to the field of landscape painting academies. In 19th century England, J. M. W. Turner used watercolor painting to push romanticism and naturalism to a climax. Perhaps humans always have similarities in perception across time and space. In 18th century Italy, after countless brilliant Baroque creations, perhaps people of that era felt extremely tired and thought of more accurate and simple material watercolors. In the mid-19th century, Britain was also facing changes brought about by the Industrial Revolution. In the midst of the times, artist Turner may have realized that watercolor was more in line with the struggles of that era and better expressed people's attitude towards nature. He also chose watercolor. Today, at a time when technology is once again evolving, designer Chen Yiying has also chosen watercolor painting. Perhaps this choice is not to create and continue art history, but to engage in an intimate dialogue with other people in many changing times.
Chen Yiying's watercolor practice can be roughly divided into three stages. The first stage can be seen as her search for self-identity, the second stage is the discussion of the painting object, and the third stage happens to be the contemplation of other individual life states. In the first stage, Chen Yiying only pursued formal adaptation, with an excessive emphasis on perspective relationships and the accuracy of things in the painting. The second stage, roughly around 2018, has fundamental psychological and visual differences between "Clouds and Mountain Roads" and "Mountains and Lakes" and early "Visiting Ancient Times" and "Southwest Rural Scenery", demonstrating a more obvious self spiritual search; In the third stage, especially by 2022, due to the forced isolation between individuals and society, she began to try portrait practice. Perhaps in a subconscious attempt, it is easy to associate with the exploration of the boundary of visual Artistic language by Post-Impressionism artists with watercolors in the early 20th century, just like Paul C é zanne used the unique colors in watercolors to transparently express the boundless spirit of the characters.
Painting is the simultaneous expression of human hands and brains, and sometimes words may not convey their meaning. The visual presentation results are testimony to the inner construction of a person. Just like the selection of materials and the construction of images, they are just the release of ideas in the minds of people holding tools. Some people may say that the highest realm of Chinese Eastern aesthetics should exist like Fan Kuan, Guo Xi, and Li Tang, with ethereal, light, and misty wetness and indulgence. People walking through mountains and rivers, passing by quickly, and excluding humility, it is a free dream in heaven and earth. However, even in the world of Western art, humans have empathy. What are the practical differences between Turner and Fan Kuan, Guo Xi, and Li Tang? Art, as the gentlest form of healing, uses art as a medium of expression and communication, which is actually an effective spiritual massage for practitioners; Hot and unrestrained, like the arrival of midsummer, after the rain in June, the charming mandala still blooms with a soft and elegant fragrance.

Curator: Jiaojiao CHEN

上下滑动查看 英文版展览前言
Swipe up and down to view the English version of the exhibition preface






关于艺术家 About Artists

| 陈一颖 Yiying CHEN |

本次呈现的作品是从2017年至今,五年时间中陆续完成的水彩作品。

我毕业于川美的建筑景观专业。大学到研究生期间,我要么是迷茫而懒散的拖作业,要么是在熬夜赶作业,时光就这么交替着过去了,绘画方面几乎完全是停滞的。研究生毕业后,我进入重庆工商职业学院,一边教书一边埋头做了七八年的设计。

然而,我始终需要在涂涂画画中汲取能量,设计总是在消耗我的能量。我是朋友眼中那个“有毅力坚持画画的设计人”。恰恰相反,涂涂画画对于我来说是完全不需要靠毅力来坚持的事情,生活得以愉快的继续全靠画几笔作为“出口”。

从2015年开始,我慢慢放弃了建筑设计的工作,用了大概两三年的过程慢慢的刹了个车。我渐渐积累了一些数量的作品,有了系列的主题,画面也相对完整。偶有来自朋友的聊聊掌声,也很满足。

我的作品带着非常严重的设计视角的痕迹,比如构图总是难以突破透视规律的桎梏,比如讲究相对传统的色彩关系,比如没有成型的艺术观点。无论如何,我准备在此时做一次小结呈现,提醒自己多作思考,少被裹挟,继续前进。



作品参展及获奖
1. 纸面水彩作品《在希望的田野上》入选“2019向祖国献礼暨第七届重庆市美术作品展”;
2. 纸面水彩作品《冬日的田野》入选“2019重庆市女书画家展”;
3. 纸面水彩作品《建设中的东水门大桥》入选“2018潮涌两江—庆祝改革开放40周年重庆市美术作品展”;
4. 纸面水彩作品《乡村》入选“2018彩溢龚滩—首届重庆市青年水彩粉画作品展”,获优秀奖;
5. 纸面水彩作品《庐山雨天写生》入选2018“界筑界画”展;
6. 纸面水彩作品《西南农村小景》入选“2018水色现场—四川重庆水彩作品联展”;
7. 纸面水彩作品《海边小景》入选“2017首届全国美术教育教师作品展”。






部分作品 Works


《吹来一阵风》/30X40CM/纸本水彩/2017





《云与山路》/61X47CM/纸本水彩/2018





《科孚岛02》/26X50CM/纸本水彩/2019





《旧城》/65X51CM/纸本水彩/2019





《头像练习1》/37X52CM/纸本水彩/2022





《头像练习3》/37X52CM/纸本水彩/2022





《头像练习5》/37X52CM/纸本水彩/2022





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更多作品欢迎到白空间现场观看哦~

Welcome to White Space to watch more works~







展览期间观展时间:上午10点至下午5点

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