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瞿倩梅 生于浙江瑞安
1979 师从瑞安画家邱禹仁先生，继而就读于瑞安师范，选修绘画 1985 旅居法国，继续中国画的创作 2008 修读于中央美院油画系材料研修班 2015 修读于中央美术学院坦培拉高研班 现生活创作于上海、巴黎 QU Qianmei Born in Rui An, Zhejiang province
1979 Study in Rui An Normal college with artist Qiu Yuren, major in painting. Joined Youth Art Exhibition in Rui An hold by Rui An Bureau of Culture 1985 Live in France, continued Chinese Painting creation 2008 Studied at the Central Academy of Fine Arts, major in Mixed Media Oil Painting Dept 2015 Studied at China Central Academy of Fine Arts for Tempera research Currently lives and works in Shanghai and Paris 
2021 觉醒 综合材料 2021 2021 Awakening Mixed media 120x200cm 瞿倩梅的绘画，一种没有自己的自画像 瞿倩梅的绘画是抽象的，不是架上画，可以按主题分类，因为它们大多是主题个展的作品，比如《藏魂》、《征象无形》、《鎏金岁月》以及联合国教科文组织为她举办的《天、地、时间》；也可以按色彩和形态分类，比如著名的绿系列、黄系列、红系列以及方系列、圆系列和装置系列，不可谓不丰富、不具体、不完整。总之她一直在画，一直在燃烧着绘画的激情，可以说这是创作的激情，不竭的灵感。我有一种模糊的感觉，她是在画自己的心情，自己的心境，她的激情是分期的，分色的，有激烈与安静、有力量与柔弱、有纠节与理性，综合她的全部作品看，她是在画一个没有自己出现的自画像。Qu Qianmei’s Paintings:
Self-portraits Without the Self Qu Qianmei’s paintings are abstract. They are not off-the-shelf paintings that can be classified by theme. Her paintings are mostly created for thematic solo exhibitions, such as Soul.Tibet, the Invisible and the Intangible, and Gilded Years, as well as Time in Between, the exhibition held by UNESCO, in Paris. They can also be categorized by colors and shape, such as the famous “the green series,” “the yellow series,” “the red series,” as well as “the square series,” “the round series,” and “the installation series.” Few would comment that these works are not rich, not specific or incomplete. Zhang has been painting continuously with a burning passion for art, or rather, the passion for creation out of inexhaustible inspiration. I have an undefined feeling that she is painting her own mood and her own state of mind. In different time periods, her passion can be phrased and conveyed in different colors. Sometimes, there is an intensity and is quiet; sometimes, there is strength and delicacy; other times, there are complications entangled with rationality. If you place all her works together, you’ll discover that she is painting self-portraits without her “selves” in them. 
2019 C-12 综合材料 2019 2019 C-12 Mixed media 200x200cm 没有自己的自画像这个假设让我兴奋也不安，没有自己，没有人形，还是自画像吗？后来读到法国当代哲学家让·吕克·南希的这句话：“肖像画是缺席者的在场”，心里才有些底气。我纠结于自画像应该有自己在场，而他告诉我自主的肖像画应该是一个不表达的主体的印象，意即应该是一个没有面目表情的主体，也就是说自主的肖像画不一定有自己的面孔出现。南希甚至说：“如果一切主体都是肖像画，那么一切绘画也许就是形象与凝视”。至此，我确信瞿倩梅的物象画就是她作为缺席者的在场，就是一种不表达的主体。The description of a self-portrait without the appearance of the painter him or herself makes me excited but uneasy—a self-portrait without oneself, or even without a human figure, can it still be called a self-portrait? Later, I gained some confidence when I read the words of Jean-Luc Nancy, a contemporary French philosopher . . . “A portrait can be the presence of an absent person.” I was immersed in the old concept that a self-portrait must have the figure of the painter in it. But Nancy showed me that an objective portrait could be an impression of an unexpressed subject, namely, it can be a subject without any face or expression. That is to say, an objective portrait does not necessarily require the painter's own face in it. Nancy even said, “If all subjects are portraits, then all paintings may be images and gazes.” Based on this new concept, I am convinced that Qu Qianmei's object paintings are the presence of herself, although as an absence from the scene, or a kind of non-expression of the subject. 
2019 C-03 综合材料 2019 2019 C-03 Mixed media 200x200cm 看过或熟悉瞿倩梅绘画的人都知道，她的绘画有主观形象，也有主题意识，虽然它们是抽象的。她的画不像吴冠中的江南村落，陈逸飞的周庄水乡，她呈现的家园是用材料言说的。实际上，她的主题变过，色彩主调变过，唯独材料语言不曾变过，始终是泥土的堆积，大漆的凝倔和矿物颜色的麻皴。我过去一直把静物画视一种写生或素描，现在看来画上的静物未必不是涌动的激情，未必不是一种物我合一的呈现。中国古典绘画中的高远、平远、近远、梅兰竹菊、岁寒三友都不是人的形象，却又都是人物形象。Anyone who has seen or is familiar with Qu Qianmei's paintings knows that although her works are abstract, there are subjective images as well as thematic consciousness. Differing from Wu Guanzhong's paintings of villages to the south of the Yangtze river, or Chen Yifei's works of the Zhouzhuang riverside township, her works present her homeland in material terms. In fact, the themes and color tones of her paintings have changed, only the language expressed by the materials of her works stays the same. It is always expressed with the accumulation of soil, the coagulation of Chinese lacquer, and the mixure of light and dry mineral colors. I used to regard the still-life paintings as a kind of sketch. Now it seems that the still life in her paintings could be seen as a manifestation of a growing passion and of a unity of object and artist herself. In Classical Chinese painting the method of San-yuan (Gao-yuan, Ping-yuan and Jin-yuan) is often used to show the height, width and depth of a mountain or river. Similarly, the plum blossom, orchid, bamboo, and chrysanthemum as well as the three so-called cold-resisting plants: the pine, bamboo and plum blossom, are not painted with the appearance of real human images, but all of these can be understood as the presence of ideal moral Chinese characters without their appearance on the painting. 
2019 B-59 综合材料 2019 2019 B-59 Mixed media 180x130cm_2019 从这个意义上看，瞿倩梅的绘画是一种以物境反射心境的实践，有人把它们看成是风景，有人看到它们背后的故事，但不容否认，她画出的这些没有人体的物象便是她在绘画中认同自己并把自己认同为绘画的过程。有些评论认为它们很神奇、很神圣，其实它们是因为传递各种激情而如此夺人眼球。正如南希所说：“肖像不是一个模特，而是一种理论，一种艺术理念”。瞿倩梅撇开了传统意义上的肖像画，用物象再现自己，围绕一个物质形象建构绘画语言，使之如南希所说：“这种绘画相似于我，唤起了我，凝视着我”。In this sense, Qu Qianmei's paintings are a sort of practice of reflecting the state of mind by the physical state of things. Some people may interpret them as landscapes, while others may explore the stories behind them. However, it is undeniable that the nonhuman objects she draws are representation of the process of her identifying herself in painting and identifying herself with painting. Some critics think the paintings are magical and sacred. Actually, they are so eye-catching because they convey all kinds of passions. As Nancy puts it, “The object of a portrait is not a model, but is a theory, an artistic concept.” Qu Qianmei sets aside the portrait painting in the traditional sense, instead, she represents herself and constructs her own language in paintings with material images. Her paintings are made exactly according to what Nancy says: “this kind of painting is similar to me, evokes the idea of me, and gazes at me.”
2019 A1807 综合材料 2019 2019 A1807 Mixed media 200x200cm 我试着描述一下我从瞿倩梅作品中看到的她的主体元素。首先是她的创作DNA，即作品的坯胎和母语。浙江温州有一条瓯江，在瓯江的滋养下，生成了一种非物质遗产：欧塑。欧塑实际上是画塑，以白陶土、桐油和矿物为原料，从整体上看是一种集绘画、浮雕和泥塑为一身的传统艺术，其核心技艺是堆漆和雕塑。瞿倩梅的作画从原料上看就是泥土、大漆和矿物颜料的结合体，从形态上看是堆漆和堆塑。由此可见，从温州瓯江走出来的瞿倩梅从DNA上就继承了欧塑的骨髓，一种乡情和乡愁从第一幅画开始就留下了它的物质与精神记忆，把瞿倩梅的绘画风格定格在故土之上，也让故土散发着新时代的气息与气象。I try to parse the subjective elements I see in Qu Qianmei’s works; above all, the “DNA” of her creations, namely, “the base and mother tongue” of her works. There is an Oujiang River in Wenzhou City, Zhejiang Province. Ou sculpture, or “Ousu” in Chinese, a kind of non-material heritage, came into being with the nourishment of the Ou river, where Ou sculpture got its name. In fact, Ou sculpture is a kind of painting on sculpture with white clay, oil from the seed of a tree called Tongshu, and minerals as raw materials. Generally speaking, it is a traditional Chinese art that combines painting, relief and clay sculpture, with embossed lacquer and sculpture as the core skills and techniques. In terms of raw materials, Qu Qianmei’s paintings are a mixture of clay, lacquer and mineral pigment; in terms of shape, they are embossed lacquer and embossed sculpture. Thus, it can be seen that Qu Qianmei, who can be called “a child of Oujiang,” as she’s from Wenzhou City, has inherited the essence of Ou sculpture. As a result, since her first painting, we have discovered a sense of nostalgia and homesickness left as spiritual and material memories in her works. Her painting style is closely related to her hometown and as such provides it with an atmosphere fully pervaded with the vitality of the new era. 
2018 S-05 综合材料 2018 2018 S-05 Mixed media 200x200cm 其次是她绘画中的物化心境。我记得一位美国画家说过：“绘画最难的部分就是让观者看到你看到的景象，给绘画赋予体验感、光感和空间感”。从这一点上看，瞿倩梅好像都做到了，她的画作充满光感或光点、光照。空间感在她的画上可大可小，可浩瀚到星际，可微缩到手表的表盘。The second element is the materialied state of mind in her paintings. I remember, an American painter once said, “The most difficult part of painting is to enable the viewers to see what you see, to give the painting a sense of experience, a sense of light as well as a sense of space.” From this aspect, it appears that Qu Qianmei has succeeded. Her works are full of light sensation, light spot or light illumination. And the sense of space in her paintings can be big or small, ranging from the infinite universe to a tiny miniture of a watch dial. 
2018 A-42 综合材料 2018 2018 A-42 Mixed media 200X300cm 余下的体验感则是她最为人称道的部分，这里有缘聚、韬光、偶遇、平静;有朝圣、涅槃、驿动的心、调和、往事:有心结、怀乡、岁峥嵘和怅然.这些或许都是画家的人生体验和领悟，也或许都是观者从画面上分享到的体验与感悟。所以我认为抽象画面呈现真实心境。任何作品都有心理的折射，但直接呈现这种心理或强或弱的折射，用物象隐喻出来，这便是瞿倩梅的另一种主体存在。Then, the most acclaimed part of Zhang is her sense of experience. There are gatherings, hidden talents, chance encounters, and calmness. There is also: pilgrimage, Nirvana, restless hearts, reconcilations, past events, as well as bothering anxieties, nostalgia, eventful years and melancholy. These may either be the painter’s life experience and understanding of life, or they are the experiences and insights shared by the viewer from the paintings. So I believe that abstract pictures can present the real state of mind. Every piece of work reflects its creator’s psyche. However, presenting the psychological refraction, strong or weak, in such a direct way and expressing it metaphorically with objects or images can be considered as her unique contribution. It is Qu Qianmei’s alternative kind of subjective existence.
2018 A-4 综合材料 2018 2018 A-4 Mixed media 200x200cm 我相信她的画面有些是有意识的，有些是无意识的。法国哲学家米歇尔·福柯说：“只要处于一个恰当的环境中，我们就可以马上看出艺术背后的'知识型’”。他认为绘画也是一种视觉结果与视觉经验。不管瞿倩梅是否有无意识，她的作品也实现了神经美学的一些观点。神经美学认为艺术不是艺术家本人的语言，而是自然通过艺术家表达自己的语言，或者说艺术是人脑表达和实现自己的语言。总之艺术家不同于常人，他们天生神经发达，能捕捉反映人类心智所使用的感知元素，再将其呈现出来。弗朗西斯·培根也为这种观点间接作了注释，他说：“毕加索推翻了描绘外形的准则，不重视形式上的真实，而是以非理性的灵感替代，不经过大脑”。艺术家的神奇不如说是艺术的神奇，而这些神奇在观众眼中有时却是荒谬的。最后用尼采的一句话结束我对瞿倩梅绘画的探讨：“一切都如此荒谬，以至于我们或许也能非比寻常”。I believe that some of her images are created with consciousness and some are created unconsciously. “As long as we are in the right environment, we can immediately see the 'knowledge’ behind art,” says the French philosopher Michel Foucault. He believes that painting is also a visual result and visual experience. Whether or not Qu Qianmei paints with consciousness, her works match some ideas of neuroaesthetics. Neuroaesthetics holds that art is not the artist’s own language, but nature’s, which expresses itself through the artist, or in other words, art is the expression and realization of the human brain's own language. In short, artists are different from ordinary people, they are naturally highly neurotic, they can capture the sensory elements that reflect the human mind, and then present it in art. British figurative painter Francis Bacon also indirectly commented on this view, saying: “Picasso overturned the norms of shape, not paying attention to formal truth, but replacing it with irrational inspiration, without going through the brain.” The magic of artists is better described as the magic of art, and that magic is sometimes regarded as absurd in the eyes of viewers. Finally, I ended my introduction to Qu Qianmei's paintings with a word from Nietzsche, “Everything is so absurd that we may be able to be extraordinary.”Text / Xie Qiang 
2013 A-07 千堆雪 综合材料 2013 A-07 KSNOW Mixed media 直径160cm 主要展览 2021“半亩园·另一种雅集——瞿倩梅新作展”，上海中心大厦，上海，中国
2019 天地源，静安雕塑公园，上海，中国 2019 天地行——瞿倩梅巴黎个展，巴黎，法国 2018 鎏金岁月，艾米李画廊，北京，中国 2018 踏春，铸造美术馆，北京，中国 2017 日课修行，铸造美术馆，北京，中国 2017 日课修行，现代画廊，台湾，中国 2016 皈依：瞿倩梅艺术展，今日美术馆，北京，中国 2016 宇宙2，Galerie NICHIDO，巴黎，法国 2015 藏魂，菲利浦画廊，上海，中国 2015 宇宙2，圣·吉内维弗·德·博瓦市政府，埃松，法国 2014 微象亦无形，亚洲艺术中心，北京，中国 2012 天地之间邀请展，法国联合国教科文组织，巴黎，法国 2011 境·遇，上海美术馆，上海，中国 2011 境·遇，现代画廊，台湾，中国 2010 境·遇，铸造美术馆，北京，中国 2008 和平之声，西班牙智障奥运会，ville de Castellon，西班牙 2007 和平之声，纳维尔公爵王宫，纳维尔 2007 和平之声，巴黎外方教会，巴黎，法国 2007 和平之声，南特国会中心，南特 2007 希望2008，联合国科教文组织首展，巴黎，法国 2004 涅盘，塞纳河街人物画廊，巴黎，法国 Selected Exhibitions 2021"Half Garden. Qu Qianmei New Work Exhibition, New Breakthrough Blooming in the Sky, Shanghai Tower,Shanghai,China 2019 "Natural Spirits" , Jinan Sculpture Park, Shanghai, China 2019 "Stalker of The Universe", City Hall of Paris, Paris, France 2018 "Gilded years", Lee, Amy Gallery, Beijing, China 2018 "Go on spring outing", Foundry Museum，Beijing, China 2017 "Daily Spiritual Course", Modern Gallery, Taiwan, China 2017 "Daily Spiritual Course", Foundry Museum，Beijing, China 2016 "The convert", Today Art Museum, Beijing, China 2016 "Universe 2", Galerie NICHIDO ,Paris, France 2015 "Soul.Tibet", Galerie Phillippe STAIBE, Shanghai, China 2015 "Universe 2", City Government of Sainte-Geneviève-des-Bois, France 2014 "The Invisible and The Intangible", Asia Art Center, Beijing, China 2012 "Ciel, Terre et Temps" Invitation Exhibition held by UNESCO, Paris, France 2011 "Circumstances. Experiences", Shanghai Art Museum, Shanghai, China 2011 "Circumstances. Experiences", Modern Gallery, Taiwan, China 2010 "Circumstances. Experiences", Foundry Museum，Beijing, China 2008 "Voice of Peace", ID Olympics Ville de Castellon, Spain 2007 "Voice of Peace", Naville Duke Palace, Naville 2007 "Voice of Peace", Paris Foreign Church, Paris, France 2007 "Voice of Peace", Nantes Congress Centre, France 2007 "Hopes 2008"First Exhibition held by UNESCO, Paris, France 2004 "Nirvana", People Gallery, Paris, France
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