艺术家 / Artist 策展人 / Curator 王友江 / Wang Youjiang 艺术的发展史是人类文明共同交融发展而成，不可能是一枝独秀，当代艺术家应该站在人类文明的视野去思考问题，才能知道本国的文明高度。对生命的悲悯与尊重是现代文明社会的基本内核，也是艺术家的基本心质。艺术家的作品体现了对生命的关爱，对社会的体验，对世界的认知。在疫情不便之际我通过线上交流展的方式，以"各境与相望"作为展览的主题，让艺术家用艺术作品来沟通彼此、传递关爱、融合文明，让艺术拥抱世界。 The development history of art is the integration and development of human civilization, which can not stand alone. Contemporary artists should think from the perspective of human civilization in order to know the height of their own civilization. Compassion and respect for life is not only the basic core of modern civilized society, but also the basic essence of artists. The artist's works embody the love for life, the experience of society and the cognition of the world. At a time when the epidemic situation is inconvenient, I use the online exchange exhibition to take "all environments and facing each other" as the theme of the exhibition, so that artists can use their works of art to communicate with each other, convey love, integrate civilization, and let art embrace the world. 
艺术家 / Artist 张立柱 / Zhang Lizhu 中国艺术家 中国国家画院画家，研究员、一级美术师， 1984年本科暨研究生毕业于西安美术学院国画系留校任教。 1991年调入陕西国画院为专业画家。 2011年调入中国国家画院。 现为中国国家画院画家，研究员、一级美术师，中国美协会员，中国画学会理事，西安美术学院客座教授。曾任陕西国画院院长、陕西省美协副主席，汕头大学艺术学院教授。 1984年《乡下人》入选第六届全国美术作品展（国家文化部、中国美协主办，以下同） 1988年《丝路风情》（合作长卷）入选蒙特卡罗国际现代艺术大展。 1989年《丝路风情》参加第七届全国美展获金奖，另有《厚土漫漫》《高高的土墙》《并非统一服装》三作品同时入选本届全国美展 . 1995年《囤土山》《千年土》等大幅纸绢作品参加刘骁纯先生任学术主持的＂95张力与表现水墨画展＂。 1997年《大奔》《火石庄》等十幅作品参加在中国美术馆和江苏美术馆举办的《陕西当代中国画展风格探索展》《老堡子》《丝路风情》各入选《中国现代美术全集》（中国画卷）和（壁画卷）。 2001年《老堡子》入选《百年中国画展》。 2004年《心潮》入选第十届全国美展。 2005年作为陕西十画家之一参加《当代国画优秀作品展—陕西赴京作品展》。 2006年《走出槐乡》系列三幅参加中国美术馆主办的《农民.农民》邀请展。 2012年《故土彩梦》等三幅参加中国美术馆主办的《都市.田园》中国画提名展。 2014年《乡亲们》入选第十二届全国美展。 2018年《母子图》等参加“当代意象”中国写意人物画研究创作展。 2019年《三姐妹》入选第十三届全国美展. 2001-2021年《乡亲们》《山祇》等七幅参加了第一至第七历届全国画院双年展。 作品被中国美术馆、浙江美术馆、苏州美术馆、中国国家画院、陕西国画院等学术机构和个人收藏。 Chinese artist: painter,researcher and first-clast artist of China National Academy of painting graduated from the Department of traditional Chinese painting of Xi'an Academy of Fine Arts 1984. In 1991, he was transferred to Shaanxi Academy of traditional Chinese painting as a professional painter. Transferred to China National Academy of painting 2011.He is now a painter, researcher and first-class artist of China National Academy of painting, a member of China Art Association, a director of Chinese painting society and a visiting professor of Xi'an Academy of fine arts. He once served as president of Shaanxi Academy of traditional Chinese painting, vice chairman of Shaanxi Artists Association and professor of Art School of Shantou University. 1984, "countryman" was selected into the Sixth National Art Exhibition (sponsored by the Ministry of culture and China Artists Association, the same below) 1988, the Silk Road style (cooperation volume) was selected into the Monte Carlo International Modern Art Exhibition. In 1989, "Silk Road style" won the gold medal in the Seventh National Art Exhibition. In addition, three works, "long thick soil", "high earth wall" and "not uniform clothing" were selected in this national art exhibition at the same time. In 1995, "hoarding earth mountain", "Millennium earth" and other large-scale paper and silk works participated in the "95 tension and performance ink painting exhibition" chaired by Mr. Liu Xiaochun. 1997, ten works such as Da Ben and Huoshi Zhuang participated in the style exploration exhibition of Shaanxi contemporary Chinese painting exhibition held in China Art Museum and Jiangsu Art Museum. "Laobaozi" and "Silk Road style" were selected into the complete works of modern Chinese Art (Chinese painting volume) and (mural volume). 2001, laobaozi was selected into the Centennial Chinese painting exhibition. 2004, Xinchao was selected into the 10th National Art Exhibition. In 2005, as one of the top ten painters in Shaanxi, he participated in the exhibition of excellent works of contemporary Chinese painting - Shaanxi work exhibition in Beijing. 2006, three of the series of "going out of Huaixiang" participated in the invitation exhibition of "farmers. Farmers" hosted by China Art Museum. 2012, "hometown color dream" and other three paintings participated in the Nomination Exhibition of "city. Countryside" Chinese painting hosted by the China Art Museum. 2014, "villagers" was selected in the 12th National Art Exhibition. 2018, "mother and son" and others participated in the "contemporary image" research and creation exhibition of Chinese freehand figure painting. In 2019, "three sisters" was selected in the 13th National Art Exhibition. 2001, 2003, 2005, 2010, 2017, 2019 and 2021, seven paintings including villagers and mountains participated in the first to Seventh National Academy of painting biennales. His works have been collected by academic institutions and individuals such as China Art Museum, Zhejiang Art Museum, Suzhou Art Museum, China National Academy of painting, Shaanxi Academy of traditional Chinese painting and so on.  张立柱《远乡》纸本设色 / Zhang Lizhu . Distant hometown .2018 . Paper coloring . 395X290cm .  张立柱《民工》纸本设色 /Zhang Lizhu . Migrant workers . 2011 . Paper coloring . 155X96cm . 艺术思考： 写意是中国艺术之精髓。从远古彩陶、图腾崇拜、龙凤创意、青铜造纹、文字符号至书法演进、诗词曲赋、民间文化、综合戏曲无一不是写意艺术的明晰体现。中国画是中国艺术一门类，写意精神贯穿恒久，具体于艺术形式中就含有源于生活又超脱生活的抽象性提炼。抽象是写意之必须要素，是中国艺术的基本属性，不论其占比量多少，但此观念则必须明确具有。正是这种写意艺术的抽象精神传统给中国当代艺术家摆脱几十年苏俄式所谓写实系之羁绊具备传统动力，也展示出中国文化传统极強的现代艺术基因和往现代跨入的先天优势。正是基于此点，我在画作时从未觉得中国艺术与世界现代艺术的矛盾与阻隔，且感受到现代艺术的视觉冲击、情感释放、精神张扬，个性畅达等尤适中国艺术之写意。 Artistic thinking: Freehand brushwork is the essence of Chinese art. From ancient painted pottery, totem worship, dragon and Phoenix creativity, bronze patterns, text symbols to the evolution of calligraphy, poetry, song and Fu, folk culture and comprehensive opera are all clear manifestations of freehand brushwork art. Chinese painting is a category of Chinese art. The spirit of freehand brushwork runs through for a long time. Specifically, in the art form, it contains the abstract extraction from life and beyond life. Abstract is the essential element of freehand brushwork and the basic attribute of Chinese art. No matter how much it accounts for, this concept must be clear. It is this abstract spiritual tradition of freehand brushwork that gives Chinese contemporary artists a traditional impetus to get rid of the shackles of the so-called realistic system of Soviet Russia for decades. It also shows the strong modern art gene of Chinese cultural tradition and the inherent advantages of stepping into modernity. It is based on this point that I never felt the contradiction and barrier between Chinese art and world modern art when painting, and felt the visual impact, emotional release, spiritual publicity and smooth personality of modern art, which are especially suitable for freehand brushwork of Chinese art. Zhang Zhuzhu  张立柱《三姐妹之一》纸本设色 / Zhang Lizhu . One of the three sisters . 2019 . Paper coloring . 178X96cm .  张立柱《四季. 夏之一》纸本设色 / Zhang Lizhu . Four seasons Xia Yi . 2015 . Paper coloring . 69X35cm .  艺术家 / Artist 乔迁 / Qiao Qian 中国艺术家 2002年毕业于清华大学美术学院，获博士学位，北方工业大学教授。同时担任清华大学吴冠中艺术研究中心研究员、中国美术家协会会员、中国城市雕塑家协会常务理事，全国城雕委艺委会委员、北京市公共艺术咨询委员会委员等。曾参加香港回归主雕、澳门回归十周年纪念雕塑、冬奥会公共艺术建设等重大艺术项目。作品曾数十次参与国内外艺术展，被中国美术馆、深圳美术馆、宁波美术馆、上海图书馆、北京大学和其他文化艺术机构、个人等广泛收藏。曾在柏林工业大学、卡迪夫大学等地参与短期项目合作。出版多部专著。 部分展览 1999年九九回响——中国雕塑大展 清华大学美术学院展览馆 北京 2000年首届中国石木雕刻大展 福建省惠安县 2001年首届国际科学与艺术展 中国美术馆 北京 2002 年东阳国际木雕展 浙江东阳木雕城 2003年公众对话——中国公共艺术展 上海莫泰空间 2004年中国——比利时雕塑作品展 比利时拉娜雕塑园 2005年第二届北京国际美术双年展 中国美术馆北京 2006 年中韩雕塑家交流展 厦门美术馆 2007年“对话·沟通——北京·世界”主题雕塑展 中华世纪坛 北京 2008年 改革开放30周年美术作品展 中国美术馆 北京 2009年雕塑百家联展 中国美术馆 北京 2010年BQ空白展 华茂购物中心 北京 2011年凝固的旋律——国家大剧院雕塑作品邀请展 国家大剧院 北京 2012年鲜红·树祭——乔迁大地艺术展 安徽宿州五柳景区 2013年河南“艺术之声”雕塑双年展 郑州河南省艺术中心 2014年中国写意雕塑展 长春世界雕塑园 2015年 中国写意——中国美术馆邀请展 中国美术馆 北京 2016年第三届苏州金鸡湖双年展 苏州金鸡湖景区 2017年华人小型雕塑邀请展 新加坡艺术中心 2018年“意境自然——天工开物”当代公共艺术主题展 北京世界园博园 2019年民勤国际沙漠雕塑大赛 甘肃民勤沙漠公园 2020年人人都是艺术家展 重庆市武隆区懒坝度假区 2021年和合之道国际雕塑创作营 成都温江和合之道文化创意园 2022年 第九届中国北京国际双年展——历届体育题材藏品精品特展 中国美术馆 北京 Chinese artist: Qiao Qian graduated from the College of Fine Arts of Tsinghua University in 2002 with a doctor’s degree and a professor of North China University of Technology. He is also a research fellow of the Wu Guanzhong Art Research Center of Tsinghua University, a member of the China Artists Association, and an executive director of the China Urban Sculptors Association, member of Art Committee of National City Carving Committee, member of Beijing Public Art Advisory Committee, etc. . He has participated in major art projects such as the main sculpture of the return of HongKong to China, the sculpture of the 10th anniversary of the return of Macao to China, and the public art construction of the Winter Olympics. His works have participated in dozens of art exhibitions at home and abroad, and have been widely collected by the National Art Museum of China, Shenzhen Art Museum, Ningbo Art Museum, Shanghai Library, Peking University and other cultural and arts institutions and individuals. He has been involved in short term projects at the Technical University of Berlin and the Cardiff University. Published several monographs. Housewarming part of the exhibition Echo of 1999 - China Sculpture Exhibition, exhibition hall of Academy of fine arts, Tsinghua University, Beijing In 2000, the first China stone and wood carving exhibition was held in Hui'an County, Fujian Province 2001 the first international science and Art Exhibition Beijing China Art Museum 2002 Dongyang international wood carving exhibition Zhejiang Dongyang wood carving C 2003 public dialogue - China Public Art Exhibition Shanghai Motai space 2004 China Belgium sculpture exhibition Lana sculpture garden, Belgium The second Beijing International Art Biennale in 2005, Beijing China Art Museum 2006 Sino - Korean sculptor exchange exhibition, Xiamen Art Museum 2007 sculpture exhibition with the theme of "dialogue and communication - Beijing · world", Beijing China century altar 2008 art exhibition of the 30th anniversary of reform and opening up, Beijing China Art Museum 2009 sculpture hundred Joint Exhibition Beijing China Art Museum 2010 BQ blank Exhibition Beijing Huamao Shopping Center The solidified melody in 2011 -- the sculpture exhibition of the National Grand Theatre, Beijing National Grand Theatre 2012 bright red · tree Festival - moving earth art exhibition Wuliu scenic spot in Suzhou, Anhui Province 2014 China freehand sculpture exhibition Changchun World Sculpture Park 2015 China freehand brushwork - China Art Museum Invitational Exhibition Beijing China Art Museum 2016 3rd Suzhou Jinji Lake Biennale Suzhou Jinji Lake Scenic Spot 2017 Chinese small sculpture Invitational Exhibition Singapore Art Center 2018 "natural artistic conception - natural engineering opens things" contemporary public art theme exhibition Beijing World Park Expo 2019 Minqin international desert sculpture competition Gansu Minqin Desert Park 2020 everyone is an artist exhibition Langba resort, Wulong District, Chongqing 2021 hehezhidao International Sculpture Creation Camp Chengdu Wenjiang hezhidao cultural and Creative Park The 9th China Beijing International Biennale in 2022 - previous sports collection boutique special exhibition, Beijing China Art Museum  乔迁《苍茫的山》铸铜 / Qiao Qian . Vast mountains .2008 . Cast copper . 65cm .  乔迁《远去》铸铜 / Qiao Qian . Travel far . 2009 . Cast copper . 62cm . 艺术思考： 创作就是让我自己快乐。我热爱生活，艺术创作可以表达我对世界的看法，这是我的生活的方式和内容。一生对艺术不断地认识就是不断丰富我生活的方式。我创作时从来不关注时代和语言风格，我只关注内心，通过艺术我追求内心的欢愉。 Artistic thinking: To create is to make myself happy. I Love Life, art can express my view of the world, this is the way and content of my life. A lifetime of learning about art is a way of enriching my life. I never pay attention to the times and the language style when I create, I only pay attention to the heart, through the art I pursue the inner happiness. 乔迁《失重》铸铜 / Qiao Qian . Weightlessness . 2006 . Cast copper . 72cm . 乔迁《展翅》铸铜 / Qiao Qian . Spread one's Wings .2017 . Cast copper . 60cm . 艺术家 / Artist 金真花 / Kim, Jin Hwa 韩国艺术家 1969 出生于全南灵岩 1992 湖南大学美术系毕业 1998 美国 纽约Pratt Institute纯美术学院绘画专业硕士毕业 个展 19回 光州，首尔，纽约 等 主要群展 2021 村 - 村庄: 灵岩 走着时间，灵岩郡立河正雄美术馆. 光州文化艺术会馆，灵岩. 光州，韩国 2020 生活痕迹 - 积累的时间: 灵岩 走着时间，杨林美术馆，光州，韩国 2019 静物画的诱惑，务安郡吴承雨美术馆，务安，韩国 2019 Contemporary Young Artist in Namdo 2019，Dambit艺术仓库展厅，潭阳，韩国 2018 Topaz展，李箱艺术空间，首尔，韩国 2018 今天的战略 - 独善其身 韩中艺术家展，光州市立美术馆锦南路分馆，光州，韩国 2018 国际文化艺术交流支援事业2018，韩法国际共同展策划项目《链-接》，安佐岛艺术中心. Eunam美术馆. 庞特瓦兹 京科瓦文化空间，新安. 光州. 庞特瓦兹，韩国. 法国 2018 Lapomme当代美术馆下半年艺术家征集'映射出的自画像Ⅱ’ 5人展，Lapomme当代美术馆，清州，韩国 获奖及驻地项目 2013 第4届菲卢克斯照明艺术节 评选 2010 第16届光州美术奖 获奖 2010 光州市立美术馆北京创作中心 驻地艺术家 2006-2007 光州市立美术馆八角亭创作工作室 驻地艺术家 Korean artist 1969 Born in Yeongam, CheonNam Province, Korea 1998 Graduated from Pratt Institute, M.F.A (New York) Selected Solo Show 2021 Space-linked type Creative Activity Support Program, Kim, JinHwa Solo Show “SKY”, Hui Culture Creation Space, CheonNam, Korea 2019 Invitation Solo show “12ⁿ”, EunAm Museum of Art, Gwangju, Korea 2018 Kim, JinHwa - The Reflection of Dream, Invitation Solo show, Yeongam district art Museum, Korea 2015 “A Dreaming Window” Invitation Solo show of Gwangju Museum of Art, Gwangju, Korea 2014 “The Aesthetic of the Tree” Invitation Solo show of Lotte Gallery, Gwangju, Korea 2013 “THE STAGE” The prizewinner’s invitation solo show of 4th Feelux Art Festival, Feelux Lighting Art Museum, Yangju, Korea 2012 The residency program Exhibition: Time and Space Traveling, Daedam Museum of Art, DamYang, Chonnam, Korea 2011 Invitation solo show, “Something What We Need”, Shinsaegae Gallery, Gwangju, Korea 1999 Painting in space – Installation, Dukwon Gallery, Seoul, Korea 1999 Painting in space – Installation, Injae Gallery, Gwangju, Korea 1997 Breathing, Blooming and Growing Steuben West Gallery - Brooklyn, New York, USA Selected Awards & Residency Program 2012 The Residency program of Daedam Museum of art, Gwangju, Korea 2010 The Residency program of Beijing of Gwangju Museum of Art, China 2010 The Prize Award 16th Gwangju Art, Korea 2008 The prize of The 8th Ha Jung-Woong Young Artists, Korea 金真花《塞克雷花园》泡沫塑料上丙烯酸、发光二极管 / Kim, Jin Hwa . The Secrel Garden . 2011 . Acrylic on Foamex, LED . 97x66x33cm . 金真花《在时光之林》混合媒体、发光二极管 / Kim, Jin Hwa . In the Forest of Time Trees . 2014 . Mixed Media, LED 124.3x204x11cm . 艺术思考; 我的作品是平面、立体、装置混合为一体的。 自从2004年开始不断研究并展开的该风格的作品，在六面体内结合多张穿孔的平面图像，立体地表现出来，这就像一种大型装置作品的缩小版本。 又从2007年开始与LED结合，作品在LED照明亮起和熄灭时给人一种不同的感觉。 对人类 来说，光可以象征希望和愿望、喜悦和欢喜等积极的因素。 在最近的作品中，六面体空间成为话剧的舞台，LED光还起到了舞台照明的作用。我在这里重新诠释神话、星座故事、歌剧或咏叹调、古典音乐或书中获得的主题等，人们的人生就像在这个小舞台上表演的话剧一样。我试图平面上的各种形象，即建筑物、星星、月亮、云、光、风的形状之间透出来的光，营造出超现实的氛围。这是现实中看不到的，只有在梦中才能看到的空间，也有可能是我们梦想中的"希望与愿望之空间, 我希望观众能和我的作品一起游览属于自己的空间。 Artistic thinking: I’m working in three different forms. They are installation, three dimensions and two dimensions. The form of works I have continuously studied since 2004 are of overlapping several layers of flat images to create a three dimensional space with the planar layers. A resent three dimensional work is of installing several combined sheets of flat images inside of a hexahedron. This piece is like a scaled –down version of a large installation. The overlapped images are combined with LEDs, so that one may view different images in the work when the LED lights are turned on or off. I have been using LEDs in my works since 2007. I had intended a more dramatic atmosphere by installing light between images while overlapping them in several layers and, through a reinterpretation of star sign stories, my use of LED lights have further accentuated the forms of stars. LED lights in my most recent works play the role of stage lights. The hexahedronal space is like a stage for plays. I reinterpret mythology, star sign stories, opera storylines or arias, themes of classical music or themes obtained from books, etc. On a small stage is as a new story. It appears that life is like a play performed on a small stage. Each performer plays his or her own part. The stage intends a surrealist atmosphere by combining biological dreaming, architectural images and aerial imagination (stars, moon, clouds, light, wind ). They are spaces which could not be seen in reality, but only in dreams. My desires to create invisible spaces, which cannot be viewed in reality, spaces which we dream of, spaces in which one would wish to stay. I wish viewers can be keeping their dreams, viewers can travel into invisible spaces with my works. 金真花《夜景之一》混合媒体、发光二极管 / Kim, Jin Hwa . The Landscape of the Night 1 . 2015. Mixed Media, LED 123x223x6.5cm . 金真花《天鹅湖》混合媒体、发光二极管 / Kim, Jin Hwa . The Swan Lake . 2013 .Mixed Media, LED 73x61x8cm . 艺术家 / Artist 苏鹏 / Su Peng 中国艺术家 1996年毕业于西北师范大学美术系，现任兰州城市学院教授，中国美术家协会会员,中国艺术研究院油画创作研究工作室研究生课程班访问学者,甘肃画院油画院院聘画家, 兰州理工大学艺术兼职硕士研究生导师。 Chinese artist Graduated from the Department of fine arts of Northwest Normal University in 1996, he is now a professor of Lanzhou City College, a member of China Artists Association, a visiting scholar in the postgraduate course of oil painting creation research studio of China Academy of art, a painter employed by the Oil Painting Institute of Gansu Academy of painting, and a part-time tutor of master of Arts of Lanzhou University of technology. 苏鹏《隐秘游戏》布面油彩 / Su Peng . Secret Game . 2019 . Cloth paint .140x140cm . 苏鹏《脆弱》布面油彩 / Su Peng , Fragile . 2020 . Cloth paint .180x110cm . 艺术思考： 我的近期创作是基于自己这十来年的内心体验，以及对现代人生活状态的某种思考，我试图用隐喻的手法映射当代人精神世界的困惑和与现实之间的疏离，用浮华荒诞的图像印证现代生活的虚妄、焦虑和无力。关注当代都市人群的集体精神状态以及集体心理特征，是我创作的一个重要的方向。 当现代文明发展到后工业时代，人们在追求科技进步、物质丰富的同时，也容易产生心理上的焦虑、虚妄和无聊。那些五光十色的外表掩盖了内在生命力的匮乏，空虚和枯竭，更多流露出奢华和自命不凡的意味，正如存在主义学者所秉持的观点，世界的本质是虚无的。在以消费为主的时代，我们在满足各种欲望的同时又会不断产生新的欲望，这种重复的不可逾越的悖论和魔咒般的结局似乎成为了现代人的宿命。 荒诞派剧作家贝克特在自己的作品《等待戈多》中描述了一群流浪汉在黄昏的乡间小路上，等待一个叫戈多的人，冗长的戏剧就在各种话痨似的自白中展开，角色一直在等待，直到最后忘记自己到底在等什么。这个故事真实映射了现代人的精神状态，太多都市人在摩天大楼之间迷失，他们不知自己的精神归属在哪里，虚无折磨着他们，娱乐至死，得过且过，成为很多年轻人的日常追寻。因此，在我的艺术创作中。很多人问我，为什么画面中总有气球反复出现，气球，可以说是我认为的一个现代都市的心理符号，具有多重意义，它代表了狂欢、娱乐、消费、大众、浮躁、空虚、脆弱、膨胀，浮华、即时感、幻灭感、未来感等等。 图像在我的画面中既是语言方式，又是媒介手段，同时也是内容事件，图像的应用是我的绘画中比较突出的特征。 Artistic thinking： My recent creation is based on my inner experience in the past ten years and some thinking about the living state of modern people. I try to use metaphor to reflect the confusion of contemporary people's spiritual world and the alienation from reality, and use flashy and absurd images to confirm the vanity, anxiety and powerlessness of modern life. Paying attention to the collective mental state and collective psychological characteristics of contemporary urban people is an important direction of my creation. When modern civilization develops into the post industrial era, while pursuing scientific and technological progress and material enrichment, people are also prone to psychological anxiety, vanity and boredom. Those colorful appearances cover up the lack, emptiness and exhaustion of internal vitality, and more reveal the meaning of luxury and pretentiousness. Just as existentialist scholars hold the view that the essence of the world is nothingness. In the era of consumption, while meeting various desires, we will constantly produce new desires. This repeated insurmountable paradox and curse like ending seem to have become the fate of modern In his work waiting for Godot, the absurd playwright Beckett describes a group of tramps waiting for a man named Godot on the country road at dusk. The lengthy drama is launched in all kinds of chattering confessions. The characters wait until they finally forget what they are waiting for. This story truly reflects the mental state of modern people. Too many urban people are lost among skyscrapers. They don't know where their spirit belongs. Nothingness torments them. They entertain until they die and muddle along, which has become the daily pursuit of many young people. Therefore, in my artistic creation. Many people ask me why there are always balloons in the picture. Balloons can be said to be a psychological symbol of modern cities. They have multiple meanings. They represent carnival, entertainment, consumption, public, impetuous, emptiness, fragility, expansion, flashiness, sense of immediacy, sense of disillusionment, sense of future and so on. Image in my painting is not only a way of language, but also a means of media, but also a content event. The application of image is a prominent feature in my painting. 苏鹏《后园》布面油彩 / Su Peng . Backyard . 2019 .Cloth paint .120x100cm . 苏鹏《弥漫系列1》布面油彩 / Su Peng .Diffuse Series1 .2019 ..Cloth paint .120x120cm . 艺术家 / Artist 石定霖 / Sack Tin Lim 马来西亚艺术家 2020毕业于中央美院油画系，四工作室。 《自画像-长大成人》东南亚2021年大华银行年度美术大赛 银奖 《2000》《2020》2020届中央美术学院本科毕业生毕业创作二等奖 Malaysian artist Bachelors degree in Central Academy of Fine Arts, Beijing. Oil Painting Department, Fourth Studio. 2021, UOB’s Painting of the Year Award - Silver Award in the emerging category 2020, Silver Award in <2000>, <2020> CAFA graduation showcase 石定霖《自画像-长大成人》纸制服装设色 / Sack Tin Lim . Self portrait-Grow up . 2020 . Paper clothing coloring . 120X150cm . 石定霖《自画像-长大成人》纸制服装设色 . 局部/ Sack Tin Lim . Self portrait-Grow up . 2020 . Paper clothing coloring . Local. 艺术思考 ： 在一个长型框架里，整齐排列着色彩绚丽的纸制服装，细细一数，共有167件。10岁那年的回忆涌现脑海，那是我一个隐藏多年的秘密，而这个秘密与我创作灵感有很大关联。 儿时的我，不太喜欢玩男生玩具，像汽车、机器人之类的总无法引起他的兴趣，反而对娃娃类的女生玩具深感兴趣。2000年10岁的我常和妹妹一起制作纸娃娃，然后一起玩。每当一到下午5点播放动画卡通《校园娇娃·Totally Spies!》，我们就会准备纸和笔坐在电视前面一边看一边画，同时也会把卡通录起来，过后再一边按暂停键一边画。通常是我负责绘画，妹妹负责帮忙和跟我一起玩。 在多数人的眼中，男生玩纸娃娃是一个奇怪的行为。当我开始感受到别人对我投来异样眼光时，我害怕了，我不想被人论断，所以选择把真实的自己隐藏起来。大概12岁时，我就渐渐不再画、不再玩纸娃娃了。”从这刻板的印象，纸娃娃的快乐回忆就被封印进铁盒里了。 20年后的我在偶然之下找到了一个生锈的铁盒，不用打开，他早就知道里面藏着什么，那是一个被遗忘已久的童年回忆。现在的我要把以前隐藏的自己公诸于世，坦诚的接受自己，面对自己，确定透过创作纸娃娃作品来展现真正的我与真诚。 Artistic thinking： Paper doll dress up is a childhood hobby close to the artist’s heart - it’s memory brims with nostalgia. “ When I was younger, I designed and handcrafted my own paper dolls for the sheer joy of creation and imaginative role play. Due to stereotypical view- Paper doll dress up is a feminine toy. There was a fear of being judged, thus this collections of self made designs from the year 2000 are safely tucked away in a cherished rusty tin box to this day.” Art should be playful. This is my intention with the creation of “Self portrait - All Grown up.” It revisits the fun I had crafting paper doll outfits as a child, through the lens of my current self. In this artwork, I further explored on my childhood joint by creating a series of paper doll outfits. On the template of figures which I have drawn, I traced our silhouettes of fashion designs ( both couture and ready to wear ) that inspire me. The 167 miniature cutouts features a wide range of styles and is divided into two categories. Through this collection, I hope the viewer experiences the same nostalgic delight and spirit of playfulness in the whole paper doll making process. 石定霖《2020》纸制服装设色 / Sack Tin Lim . 2020 . Paper clothing coloring . 90X300cm . 石定霖《2020》纸制服装设色 / Sack Tin Lim . 2020 . Paper clothing coloring . 90X150cm . 联系我们 /contact us E-mail : youjiang09@qq.com |
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