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【访谈】杨平个展“诧.紫”:不确定的直觉

张雄艺术网 http://www.zxart.cn发布时间:2019-11-06 来源:张雄艺术网

摘要: 作为成长在改革开放时代的艺术家杨平,自觉将视角投向了我们生活于其中的消费时代。而且,从她独特的体验和感受出发,常用具有个性特点的图像方式表现一些青年女性的渴望与向往,以及他们孤独、失落、忧郁、彷徨、迷...



展览名称:诧.紫 ——杨平个展

Exhibition name: THE DIFFERENCE·PURPLE------ Yang Ping Solo Exhibition

策 展  人:鲁虹

Curator: Lu Hong 

学术主持: 王端廷   杨卫 

Academic host: Wang Duanting, Yang Wei

艺 术  家:杨平

Artist: Yang Ping  

主 办  方:悦.美术馆

Organizer: Enjoy - Art Museum 

展览时间:2019年11月30日-12月11日

Exhibition Date: November 30, 2019 - December 11, 2019      

开幕时间:2019年11月30日(周六)下午3:00 

Opening Time: November 30, 2019 (Saturday), 3 pm   

展览地点:北京.悦美术馆C厅

Exhibition Location: Beijing Enjoy - Art Museum C Room   

展览地址:北京市朝阳区酒仙桥2号路798艺术区797路B06

Address: B06, 797 Road, No. 2 Road, Jiuxianqiao, Chaoyang District, Beijing


序言  鲁虹  128 x48.5cm  128x48.5cm

Preface  LuHong  128x48.5cm


我看杨平的新水墨

鲁虹


以传统水墨媒介表达个体对当下感觉,已有不少优秀艺术家做过极出色的探索,这也使得他们在中国当代艺术史留下了浓重的一笔。作为成长在改革开放时代的艺术家杨平,自觉将视角投向了我们生活于其中的消费时代。而且,从她独特的体验和感受出发,常用具有个性特点的图像方式表现一些青年女性的渴望与向往,以及他们孤独、失落、忧郁、彷徨、迷茫的情绪,相比起来,她新近创作的《时光系列》,因以花由盛而衰的过程,象征了女人的一生,显得极富哲理。难能可贵的是,通过不断探索,它不仅成功转换了传统没骨画法,还很好吸收了西方现代艺术中的表现元素,进而形成了具有个人特点的表现风貌,非常不容易。


我曾经见过杨平的书法作品,不要说在她这一辈艺术家中是出类拔萃的,就是与上一辈艺术家相比,也毫不逊色。相信在今后的创作中,他肯定会将自己的书法功夫更好融进去,并使自己跃上新台阶。


杨平既年轻又有才,既勤奋又好学,加上她有很好的导师,一定会有不可限量的前程,对此,我且拭目以待。


乙亥秋日  鲁虹于武汉东湖纯水岸


(本文作者系当代著名美术评论家、策展人、武汉合美术馆执行馆长,四川美术学院和湖北美术学院教授)


My feeling about Yang Ping’s new ink painting

Lu Hong


Using traditional ink as the medium to express the individual's feelings about the present, many excellent artists have done excellent researches, which also makes them have a strong stroke in the history of Chinese contemporary art. As an artist who grew up in the era of reform and opening up, Yang Ping consciously turned his perspective to the era of consumption in which we live. Moreover, starting from her unique experience and feelings, she often uses images with individual characteristics to express the desire and yearning of some young women, as well as their loneliness, loss, melancholy, jealousy, and confusion. In contrast, her newly creation“The Time Series”, described the process of the decline of flowers which symbolizes the life of a woman, and is extremely philosophical. What is commendable is that, through her continuous exploration, she has not only successfully transformed the traditional non-bone painting method, but also absorbed the elements in Western modern art, and formed a personal appearance, which is not easy.


I have seen Yang Ping’s calligraphy works, I have to say she is not only outstanding among her generation of artists, but also not inferior to the artists of the previous generation. I believe that in the future creation, he will definitely integrate his calligraphy skills and make herself leap to a new level.


Yang Ping is young and talented. She is both diligent and eager to learn, and she has a good mentor. There must be a limitless future for her. I will wait and see.


Lu Hong in Wuhan East Lake pure water shore


 (The author of this article is a famous contemporary art critic, curator, executive director of Wuhan Heyi Art Museum, professor at Sichuan Academy of Fine Arts and Hubei Academy of Fine Arts)


时光(1)   纸本水墨100x66cm   2019 

Time 1   100x66cm   ink on Paper     2019


天青(2)   纸本水墨160x100cm   2019

Azure 2   160x100cm   ink on Paper   2019  



无言 NO.1  34x69cm  纸本水墨 2019

Speechless 2  34x69cm   ink on Paper    2019


不确定的直觉


L:看您的作品,有很多您的影子,有一句话说“画如其人”,能谈谈你自己吗?


Y: 最了解自己的人是自己吗?


马可.奥勒留在《沉思录》里说:这个世界上,只有你最懂自己。哈哈


姹紫嫣红(3)    纸板水墨46.5x35cm  2019  

Speechless 2  34x69cm   ink on Paper  2019


我是一个大多时候凭直觉做事的人,比较感性,表现在作品中便是注重感觉的那一类。很多的直觉比如对人对事对物,事实证明也比较准确的,我称为是第一感觉。而现实中,敏感与迟疑、细腻与粗放、冲动与理智,是天生的,也是后天形成的,总是左右矛盾着我,和我的创作。



姹紫嫣红(4)  布上水墨、丙烯40x30cm  2019

Colorful 4   34.5x34.5cm   Cardboard ink   2019


简约而准确表达想法和感觉,是内心一直向往与追寻的理想。当试图捕捉对象在画面中出现的第一强烈感觉时,对画面空间的运用也多了思考。当画家们争着要把画面塞满,以示丰富时,我则要把诸多元素赶出画面,只聚焦于最传神的意象部分,觉得这就足够了。于是创作有了提纯语言与图式的诉求。一句话说清的事,不用两句,仿佛也与自己个性有关,形同语言交流。


姹紫嫣红(5)   布上水墨、丙烯40x30cm  2019

Colorful 5   34.5x34.5cm   Cardboard ink   2019


L: 您上一个展览比较大,在济南美术馆,反响也很棒。展览后到目前,您的创作有哪些新的变化,在这次展览中有哪些突破?


Y: 继前一个展览之后,创作进入了沉淀与深化的过程,专注于女性自身心理与情感的挖掘与表现,从个人独特的视角出发,是我的专攻,并且成了个人生命体验的出口,慢慢把生存感悟和现实中的触动,转化为二维平面表达,是考验自己敏锐的艺术感觉,也是强化个性的过程。



姹紫嫣红(6) 布上水墨、丙烯40x30cm  2019

Colorful 6   34.5x34.5cm   Cardboard ink   2019


在当下多种媒介越发火爆的时代,我好像更迷恋纯绘画的表达。但适当地借用一些装置形式,只要可以表达意图,也会用。


由先前对图像与表情的清晰直露到模糊虚化,甚至省略,是一种对情绪极致的表达,也隐含着无奈与冷静。距离是客观的存在,给形象内部与外部蒙上了幻觉的成分,我把这种心理体验渗透在作品中,也给观者更多想象的空间,很多的留白是期待观者去填补它。


语NO.1 12x47cm   纸本水墨  2019 

Language 1   15.5x65cm   ink on Paper   2019


语NO.2 15.5x65cm    纸本水墨   2019 

Language 2   15.5x65cm  ink on Paper    2019


语NO.3 15.5x55cm    纸本水墨   2019

Language 3   15.5x55cm  ink on Paper    2019


关注造型与情感表达及挖掘内心精神的准与深的关联,是近来思考与专注的事情。在提炼取舍中顾及画面空间留白营造的气氛。而大多的单个人物占据画面,也是希望净化画面的内容情感,表现中的理智与自控。



游园惊梦九45x30cm   纸本水墨  2019

Dreaming in the garden 3  45x30cm  ink on Paper  2019


模糊的直觉,是现阶段我创作中保有新鲜感与好奇心的方式,有吸引力也有挑战性,是一种对大感觉的把控,介于确定与不确定之间,忽略了过多细节,与传统绘画中的意象表达,目识心记,同出一辙。生命中总是感受最强烈的部分驱使人的创作欲望,让一种直觉和鲜活的感受在既掌控又不确定中发挥,也许更能抵达心性自然流露的本质。所以,我放任这种感觉,探索水墨与材料间生发的偶然性。这个阶段比以往任何时候都更能回应绘画过程本身的不确定性和感性,同时允许画纸的结构和材料的物质性释放更大的自由,来表达我的想法。


游园惊梦三45x30cm   纸本水墨  2019 

Dreaming in the garden 3  45x30cm  ink on Paper  2019


L: 在当代水墨中,图像是一个绕不开的话题,您作品中的图像很有个性,能谈一下图像的来源与创作的关系吗?



无语N0.1 0      纸板水墨    40x31cm   2019 

Helpless 10   40x31cm   ink on cardboard   2019


Y: 这是一个被图像洗刷的时代,利用网络电讯等媒体中的图像生成作品,是自然而然的事情,图像与创作的关系有了全新的意义。我尤其关注所有关于女性的图像或影像资料,比如时装、时尚设计、摄影、新闻、报刊杂志等等时下出现图像的各种媒介。而所有可以利用的图像,都与我个人的生命体验有直接的关联,我选择的图像,都是与我内心产生共鸣的,或者动作或者眼神,有时两者兼具,便最容易激发表现的欲望。当然这里没有规律,其决定于个人不确定的感觉。凡能用的,都具有与内心此时与彼时的情绪。而共鸣的部分为生成新的图像提供了生发的空间。图像的不确定性等于是人的不确定的感觉和意识,而利用这种感觉的过程中,更多是个人主观在改造原有的图像,新的图像是带着个人观念的,表达个体意图的新形象。因此,原有图像与人为的不确定性或者模糊性,是共同生成新图像的资源。



无语N0.18    纸板水墨   30x30cm   2019 

Helpless 18    30x30cm   ink on cardboard   2019


没骨的表现方法能更好地在我掌控之中,但又不完全在我预料之中,但它能实现图像的个性化和浑然一体的力量,看似浑沌模糊了轮廓线,却又在畅快淋漓的塑造中产生书写的线性感。尤其是,很多传神的部分必须是一次成形,不能迟疑也不能反复调整,一步到位,这一点极具写意性。直觉在模糊与清晰中游走,在可控与失控中生成自然效果,过程的不顺畅和偶然失措,反生了最生动的部分,由此摆脱了很多人为的痕迹,水墨自然生成的效果同时解放了人和材料间的紧张,塑造的形象在真实与虚幻中有了厚度与力度。



无语N0.45      相纸水墨     30x44cm   2019 

Helpless 45  30x44cm   ink on photo paper   2019


我的作品,无论单人还是群体,都是带着个体独自的生命体验。逐渐拉长的人物造型,直线与曲线及方圆、点线的结合,与画面整体气氛与观念表达相互生发,表达现实中存在与虚无的矛盾,以及绝望、孤独、伤感、无奈等等情感。



无语N0.46    相纸水墨     30x44cm   2019 

Helpless 46   30x44cm   ink on  photo paper  2019


L:您在表现当代水墨的过程中,对材料有选择吗,依据是什么?


无语N0.57  布上水墨丙烯  20x20cm   2019 

Helpless 57  20x20cm   Ink on canvas, Propylene   2019


Y: 对材料的探索与选择,是伴随着思想观念和表达需要而产生的自觉行为,由最初思维局限在敏感的生宣,到目前不太渗水的材质,是创作中一个大的变化,因为不同的材料确实创造了不同的视觉效应,也是作品突出个性的一个方面。但所有的材料和技术,最终都是缘于表现的需要。当表达有了指向,是会超越材料物性的,超越物性的自由表达是我的方向。



无语N0.67     布上水墨丙烯       30x40cm   2019

Helpless 67   30x40cm   Ink on canvas, Propylene   2019


这一年,在延续深化女性题材的框架里,更专注对水墨语言的探索,用水墨思维表达当下感受,用水墨表现切入当代现实生活体验,表达我对人性、人的内心精神的思考与感受。让观念与表现融为一体,是创作中自然而然的事情。我的近期创作也是这一阶段的心路。



无语N0.69    布上水墨丙烯       30x40cm   2019

Helpless 69  30x40cm   Ink on canvas, Propylene   2019


L:为什么起了“诧.紫”的名字?



无语N0.74    布上水墨丙烯  30x40cm   2019 

Helpless 74    30x40cm   Ink on canvas, Propylene   2019


Y: 首先与我作品的整体面貌有关,我作品表达的所有关于女性的感觉,与这个词语有一种意象上的契合。其次,“诧.紫”与“姹紫”谐音,词语原文“姹紫嫣红”在明汤显祖《牡丹亭.游园惊梦》里出现,一个古代女性丰富的内心世界与当代女性有了穿越似的对比与相似,所以取了其中二字也是源于此。替换为“诧”字,是想表达我更多的惊异与思考,是一个当代女性对生存体验或者说对现实中很多不确定性因素的真切表达与思考。紫的色彩或隐喻的意象,能更好地传达一种历经时间磨炼沉淀后的冷静成熟与坚韧勇气,并且紫色的力量感与神秘感也很切合作品的意味。



无语N0.80    布上水墨丙烯  30x30cm   2019  

Helpless 80  30x30cm   Ink on canvas, Propylene   2019


L: 最后一个问题:您对作品与空间的关系有想法吗?


Y: 作品与空间的关系是相互作用,互为映衬,共同创造艺术效应的,因为这次是展相对小的作品,所以选择了比较集中的小空间,展厅空间与作品的对比,与作品中的留白是同样的道理,我还是比较喜欢简静。



无语N0.84   布上水墨丙烯   40x40cm   2019 

Helpless 84    40x40cm   Ink on canvas, Propylene   2019


心中有什么,眼中就会看到什么,笔下表达的便是内心最坦率真诚的一面。作品是人的精神出口,好的作品,是深刻而引发思考的,又是真情感人的,对此我深信不疑。

                                 

2019年9月30日于国防艺术区


Uncertain intuition


L: Look at your work, there are a lot of your shadows, there is a saying that "painting is like a person", can you talk about yourself?

Y: Is a person who knows the most about himself is himself?

Marco Aureli said in "Pensive Record" : In this world, only you can know yourself best.  

I am the person who mostly works on the basis of intuition. I am more emotional, and it is the kind of feeling that I will express in my works. A lot of intuition, such as the person to things or to stuff, the facts are also relatively accurate, I call it the first feeling. In reality, sensitiveness and hesitation, delicateness and extensiveness, impulse and logos, can always contradict me and my creation.   

I have always been longing for simple and accurate expression of thoughts and feelings. When trying to capture the first strong feeling that an object appears in the picture, I will think about more the use of the space in pictures. When some painters are vying to fill the picture to show the richness, I just drive out many elements out of the picture, only focus on the most vivid part of the image. I think this is enough. And the creation has the desire to purify the language and the schema. If you can say a word clearly, you don't need two sentences. Maybe it is related to one's own personality.


L:Your last exhibition at the Jinan Art Museum was relatively large and the response was great.  What new changes have you made to your creation since the exhibition and what breakthroughs have you made in this exhibition?

Y: After the previous exhibition, my creation has entered the process of sedimentation and deepening. I focused on the excavation and performance of women' s own psychology and emotions, starting from a unique perspective of the individual, and this has become the exploration of my personal life experience. Translating the sense of survival and the touch in reality into a two-dimensional plane expression can also test my artistic sense and It is also a process to strengthen individuality.

In the era when various media are getting hotter, I became more obsessed with the expression of pure painting, but I will also use some form of installation that can express my intentions.

From the previous clear disclosure of images to fuzzy images, or even omission, it is an expression of extreme emotions, but also implies helplessness and calmness. Distance is an objective existence, which adds an illusion to the inside and outside of the image. I infiltrate this psychological experience into the works and give the viewer more space to imagine. I am looking forward to the visitors to fill the blank space.

Focusing on the relationship between sculpt and emotional expression and tapping the inner spirit are matters of my recent thinking and concentration. In the refinement, I took into account the atmosphere created by the white space. Most of the individual characters occupy the picture in order to purify the content of the picture, expressing reason and self-control.

The ambiguity of intuition is the way of maintaining freshness and curiosity in my creation at this stage which is attractive and challenging. It is a kind of control over big feelings, between determination, uncertainty and ignoring too much detail. It is the same as the imagery in traditional painting. Some strongest parts in life can drive people's creative desires, allowing an intuitive and fresh feeling to emerge in both control and uncertainty. Perhaps they are more able to reach the essence of the natural nature of the heart. Therefore, I let this feeling go and explore the contingency of the difference between ink and material. 

This stage is more than ever able to respond to the uncertainty and sensibility of the painting process itself, while allowing the structure of the paper and the material to release more freedom to express my thoughts.


L:In the contemporary ink painting, image is a topic that cannot be avoided. The image in your works is very individual. Can you talk about the relationship between the source and creation of images?

Y: This is an era of images, works can be generated by using images from media such as network. Naturally, the relationship between images and creation has some new meanings. I pay more attention to all images of women, such as fashionable dress, fashion design, photography, news, newspapers, magazines and so on. And all the images that can be used are directly related to my personal life experience. The images I choose are all resonating with my heart, for example, the model’s movements or eyes, sometimes both, so that this can easily stimulate my performance. Of course, there is no rule here, It all depends on the feeling of personal uncertainty. As long as it is usable, it has the emotions of the heart and the time. The resonant part provides space for generating new images. The uncertainty of the image is equal to the uncertainty and consciousness of a person. In the process of using this feeling, personal feelings play a important role to change the original images. The new image has a personal concept which can express the individual's intention. Therefore, the original image and artificial uncertainty or ambiguity are resources to generate new images.

The expression method without the outline of the image can be better controlled, but it is not exactly what I expected. Actually, it can have the individuality and the power of the whole image, seemingly the chaotic expression blurs the outline, however, the lines of writing can be perfectly showed in images. In particular, a lot of expressive parts must be formed at one time, I will not hesitate and adjust them repeatedly, this is extremely freehand. Intuition swims in ambiguity and clarity, producing natural effects in control and out-of-control. The process is not smooth, It will reflect the most vivid part and help me get rid of many artificial traces. The natural effect of ink also liberates the tension between people and materials, thus the image has thickness and strength in reality and illusion.

As to my work, no matter single or group, They are all with an individual's own life experience. The gradually elongated character, straight lines, curves, squares, and dotted lines, are all combined with the overall atmosphere of the picture and the expression of ideas. They can express the contradiction between existence and nothingness in reality, despair, loneliness, sadness, helplessness and so on.


L: In the process of expressing contemporary ink painting, do you have a choice of materials and based on what?

Y: The exploration and selection of materials are conscious behaviors accompanied by ideological concepts and expression needs. The initial thinking is limited to raw rice paper, and the material that is not watery at present is a big change in creation, because different materials do create different visual effects and are an aspect of the work's outstanding personality. But all materials and techniques are ultimately due to performance needs. When expression has a point, it will transcend the material. Transcending the free expression of physicality is my direction.

During this year, in the framework of continuing to deepen the theme of women, I focused more on the exploration of ink language, expressing my current feelings and using ink to cut into the experience of contemporary real life, expressing my thoughts on human nature and human inner spirit. Integrating ideas and expressions is a natural thing in creation. My recent work is also the heart of this stage.


L: Why did you start the name“The Difference . Purple”?

Y: First of all, it is related to the overall appearance of my work. All the feelings about women expressed in my work are very compatible with this word. Secondly, the sounds of“The Difference . Purple””  and "“The Difference . Purple” are similar, the original word "brilliant purples and reds" appeared in Ming Tang Xianzu "Peony Pavilion. Amazing Dreams", an ancient woman's rich inner world and contemporary women have similarity and also contrast. So, I took two words from "brilliant purples and reds". The word "surprise" is used to express my surprise and thinking about contemporary woman's survival experience or many uncertain factors in reality. Purple color or metaphorical image can better convey the maturity and tenacity of courage with time passing, and the sense of power and mystery of purple also match my whole work.


L: Do you have an idea of the relationship between work and space?

Y: The relationship between the works and the space is interactive, which will against each other and creates artistic effects together. Because this is a relatively small exhibition, I chose a relatively small space. The contrast between the exhibition space and the works is similar to the blank in works. I still prefer to be simple.

What is in the heart, what will be seen in the eye and the expression of the pen is the most frank and sincere side of the heart. The works are the spiritual export of human beings. Good works are profound and can lead to thinking. They have a real feeling that can touch others. I am convinced of this.


September 30, 2019 in the National Defense Art District


艺术简历



杨平


杨平

毕业于中央美术学院中国画学院,获硕士学位。

中国美术家协会会员、中国书法家协会会员、中国女画家协会会员、中国徐悲鸿画院画家。河北美术学院特聘教授,工作生活于北京。


Art resume


Yang Ping

She graduated from the Central Academy of Fine Arts with a master's degree, majoring in  Chinese Painting 

Member of the Chinese Artists Association, member of the Chinese Calligraphers Association, member of the Chinese Women Painters Association, and painter of the Chinese Xu Beihong Painting Institute.  

Distinguished professor of Hebei Academy of Fine Arts, working and living in Beijing.

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