韩家泉:最后的消息

“最后的消息”是一个悬而未决的状态，是临近宣告前胶着的等待，是破晓前沉默的暗夜。艺术家坦言，这三年间，一切都是不确定的，而等待“最后的消息”似乎成为了生活的一部分——展期几经延后，随着时间的推移，对于作品的选择，艺术家也一再推翻之前的决定。“最后的消息”姗姗来迟，漫长的等待和悬置即将成为一次圆满的呈现。

"The Final Message" is a state of suspense and uncertainty, a stagnant waiting before the announcement, a gloomy night before dawn. In the past three years in China, everything has been uncertain, and awaiting "the final message" seems to have become a part of normality in our lives. In the course of time, the exhibition has been postponed numerous times, and the artist has repeatedly overturned the selection of works. "The Final Message" has been belatedly in the making, and it is about to become a reality after a long ride of waiting and suspension.

阔别三年多再次在阿拉里奥画廊举办个人项目，韩家泉的作品延续了其清晰的视觉特征，精致而克制。他依然偏爱绘画小尺幅的作品，而在色彩运用方面，他习惯于用无色系与简单的一两种亮色进行对比，这种克制让韩家泉在创作中建立了一种确信。简洁与繁琐、妖娆与沮丧、质感与不可名状，这种看似对立矛盾的关系一直是他喜欢表达的方向。

Returning to Arario Gallery for a soloproject after more than three years, HAN Jiaquan continues to develop a distinct visual identity of refinement and restraint in his works, manifested in the contrast of using colorless shades and one or two bright colors as a restraint that allows the artist to establish a sense of certainty in the adaptation of small-scale works. This seemingly antagonistic and contradictory relationship between simplicity and complexity, delightment and frustration, texture and inexplicability has always been the direction of HAN's artistic practice.

但相较于以往的作品，他的创作语言还是发生了变化的，他不再只是热衷于描摹日常之物，以景寄情，他发现自己在观看现实以及图像时，时常会产生错觉与臆想，由此引发的意识流式的线性联想，远比一张现实的图像更加迷人。所以，他在创作的过程中开始更多地感受自己的情绪变化，并试图捕捉那些由日常什物或生活场景引发的联想，好似截取意识流变中的一帧成为画面。‍

The exhibition presents mundane objects and sceneries as an expression of HAN's emotions andas a setting for creating illusions and imagination, resulting in a sophisticated, linear connection of streaming consciousness that far surpasses a realistic representation. Compared to HAN’s previous works, these emotional changes and associations triggered by daily life have been captured in the stream of consciousness and transformed into paintings.

“我想去接受这种观看中的偶发事件，不去预设是对意图进行瓦解的一种方式，也能去除单一观看时所需的不自然的克制。”作品《传说》、《鱼目和珠子》、《花式叠加》就是基于这样的创作方式，让不可预知进入了画面。而作品《盯着你》与《复眼》则是艺术家在面对一个盆形装饰物和一枚胸针架时，所产生的恍惚感受和心中浮想。

"I want to accept this kind of accidental event when viewing. Not presupposing is a way to disintegrate the intention, and it can also remove the unnatural restraint required for seeing." The featuring works "Legend", "Fish Eyes and Beads", and "Fancy Overlay" are based on such a creative approach, where unpredictability enters the picture. While "Staring at Me" and "Eyes" depict the artist's dazed sensations and floating thoughts as he examines a basin-shaped ornament and a brooch stand."

绘画系列作品《浪花》、《希望》以及《关于渔童的故事》，是艺术家对水珠与珍珠的美好遐想。无论是传说中维纳斯诞生时身上晶莹的水珠，还是记忆中渔童钓鱼时飞溅的水花，最后都变成了无暇的珍珠。这或许就是韩家泉在黎明的黑夜中寻找到的，并想带给所有人看一看的——微光。“如果有最后的消息那只能是希望。”韩家泉如是说。

In addition, the highlighted painting series "Wave", "Hope", and "A Story about a Fisher Boy" represent the artist's poetic reveries of water droplets and pearls. It is said that the crystal water droplets on Venus' body in the legend, or the splashes of water in the memory of the fisherman boy, turn into flawless pearls at the end of the story. This may be how HAN Jiaquan found the shimmering light in the darkness of dawn and wanted to bring this to the attention of everyone - the shimmering light that he was looking for. "If there is a final message that can only be hope."