黄靖杰个展「薄山」

对于纸或者纸性的表达是黄靖杰作品中重要的观看与思考线索。从一开始对书籍外观的感性处理到将纸张剥离出书籍进行理性的解构。艺术家早期布面丙烯的创作一直试图将画面从“纸”的形象转移至“折”的动作。并尝试在“折”的动作之下寻找一种色彩与结构的最舒适关系。这是黄靖杰系列作品中的第一次转变：从图像到动作。这个阶段纸亦为纸。

The expression of paper or paper nature is an important clue for viewing and thinking in Huang Jingjie's works. Fromdealing with the appearance of the book emotionally at the beginning to the rational deconstruction of seperating the paper out of the book. The artist's early creations of acrylic on canvas have been trying to transfer the picture from the image of ‘paper’ to the action of ‘folding’. And trying to find the most comfortable relationship between color and structure under the action of ‘folding’. This is the first transition in Huang Jingjie's series of works: from image to action. At this stage, paper is still paper. 

在接下的创作与思考的过程中，艺术家开始抛弃习惯的材料，尝试进行绢本彩墨的创作。其思考与表达的创作逻辑延续了下来，在“折”的过程中，边缘线被进行了虚化的处理，从对折中的明确，到虚化下的模棱两可。这其中看到了艺术家犹豫的那部分，而这种犹豫正是值得我们玩味的。东西方两种绘画材料在转化的过程中，与图像和技法有关的也许是最简单的。真正要克服的是一种“粘稠”的东西，我们可以想象为一种物理上的从油性到水性的媒介密度的变化，同样也是一种与语言无关的美学差异。这一过程中的黄靖杰试图打破材料的边界，试着在柔软的材料上表达柔软，不再对折的纸，被撕破，被粘贴，形成了一种冷静且破碎的个人风景。这是黄靖杰的第二次转变：从媒介到语言。这一阶段纸亦为界。

In the following process of creation and thinking, the artist began to abandon thefamilar materials and try to create color on silk. The creative logic of his thinking and expression has continued. In the process of ‘folding’, the edge lines have been blurred. From the clarity in the fold to the ambiguity in the blur, we can see the artist's hesitation, and this hesitation is worth pondering. In the process of transformation between the Eastern and Western painting materials, the one related to images and techniques may be the simplest. What is really needed to be overcome is a ‘stickiness’ that we can imagine as a physical change in medium density from oily to watery, and it is also an aesthetic difference that has nothing to do with language. During this process, Huang Jingjie tried to break the boundaries of materials, and tried to express softness on soft materials. Paper that was no longer folded in half was torn and pasted, forming a calm and broken personal landscape. This is Huang Jingjie's second transformation: from medium to language. Paper is also the boundary at this stage.

“薄山”是本次展览的标题，也是对艺术家近期创作的归纳。艺术家开始以纸造景，并从不断结构与解构的西方图像逻辑中“解脱”而出，从理性的色彩构成中回到了感性的内心色彩。此时的画面被笼罩着一层不真实的光，而这道光自然分割了山与水，夜与昼。此时的纸已经不再成为画面中的独立物象，它似乎成了一种与分割物有关的象征。“薄”化的处理，消解掉了山的既定意义，山已不在画面中，仅仅是艺术家在创作转角处的一次选择，或是破除习惯与舒适后一次小憩下的仰头。这是黄靖杰的第三次转变：纸亦为山。

‘Folding Mountain’ is the title of this exhibition, and it is also a summary of the artist's recent creations. The artist began to use paper to make landscapes, and ‘freed’ from the logic of Western images that were constantly structured and deconstructed, and returned to emotional inner colors from rational color composition. At this time, the picture is shrouded in a layer of unreal light, and this light naturally divides mountains and water, night and day. At the mean time, the paper is no longer an independent object in the painting, it seems to be a symbol related to the divided objects. The‘thinning’ treatment eliminates the established meaning of the mountain, and the mountain is no longer in the picture. It is just a choice made by the artist at the corner of the creation, or a head-up after breaking from habit and comfort. This is Huang Jingjie's third transformation: paper is also a mountain.