它是此次展览需要回溯的画作。1988年，26岁的青年画家王玉平创作这件作品时，似乎流露出一种心理上的过去时间取向（past time orientation），这就像是中国古人的笔墨情怀。当他落笔之时，就预示了当下观众凝视这件作品时所感受到的弥远的时空距离。而艺术家的创作生涯总是充满了奥妙。此后几年，王玉平的绘画风格变得激荡而有力，他创作了一系列极具表现力的叙事性绘画，深沉的黑色开始统御他的画面，画中人物的姿态与神情呈现出一种严峻的感觉。或许因为特殊的社会背景，他的绘画表现出一种命运与时代交织的悲情。90年代初期，王玉平成为了中国画坛“新表现”的关键人物，这逐渐被认为是他身上最显著的标签。但是，因其随心而行的性格，以及日常家庭生活带给他的影响，30多年来，他的绘画风格逐渐向着平和与明朗过渡。在这漫长的时间里，他进行了多样的绘画实验，使他的艺术呈现出多个时期。如果我们不去了解王玉平三十多年来的艺术历程，一定会惊讶于近年这些微妙的物件绘画竟然出自这位 “新表现”画家之手。对于王玉平自己而言，它们更亲近于他的心灵，更能呈现他在生活中的逸乐与情动。这或许回应了中国文人返璞归真的美学理想。而开篇所提的王玉平的早期作品《葡萄》，对他自己而言就像一次本性流露，对其研究者来说就像一个预言，显示出后来的物件绘画是其创作褪去戾气后的自然面貌，也是艺术与生活的自洽成果。
【Wang Yuping · Salt Roasted Ginkgo】There is a faint yellow in front of us, but we could still recognize the grapes in the white porcelain plate, a bunch of green and a bunch of purple.The outline of grapes is not clear, they are just a vague feeling formed by some vague strokes. There seems to be neither shape boundary nor color boundary between particles. When the viewer approaches the painting to appreciate the details, the grapes are more abstract. They have no due texture. In other words, the painter replaced the image texture with a dense material texture, which was spread on the whole painting surface. When the line of sight searches towards the back of the deep space, a kettle flickers with a faint luster. It shimmers and is almost eliminated by the background. There it becomes the critical point between reality and emptiness. And then there is nothing in the space. Maybe it's just a wall. When you stare at it, you can recognize dimness and emptiness. The feeling may make you more believe that it is not real but is the emptiness as a picture, just like the emptiness of landscape painting. Indeed, its color and breath are like the appearance of ancient Chinese landscape painting.It is a painting that needs to be traced back in this exhibition. When Wang Yuping, a 26-year-old young painter, created this work in 1988, he seemed to show a psychological past time orientation, which was similar to the feelings and spirits that ancient Chinese painters had held. When he started to paint with the first brush stroke, it began to indicate the great distance of time and space that the audience would feel when staring at this work. And yet, the artist's creative career is always full of mysteries. In the following years, Wang Yuping's painting style became feverish and powerful. He created a series of highly expressivenarrative paintings. The deep black began to dominate his pictures, which made the postures and facial expressions of the characters in the paintings show a severe feeling. Perhaps because of the special social background, his paintings have showed a kind of grief closely intertwined with fates and the times. In the early 1990s, Wang Yuping became a key figure in the New Performance of Chinese painting field, which was gradually regarded as the most prominentlabel on him. However, due to his personal character of following the heart and the influence of daily family life, his painting style has gradually formed the transition to peace and brightness over the past 30 years. During this long time, he carried out a variety of painting experiments, which made his art present multiple periods. If we don't understand Wang Yuping's artistic process over the past 30 years, we will definitely be surprised that these delicate object paintings in recent years are actually from this New Performance painter. For Wang Yuping himself, theyare much closer to his heart and can show more ofhis pleasure, enjoyment and emotions in life. This may respond to the aestheticideal of Chineseliterati to return to the basis and simplicity. And Wang Yuping’s early work, Grapes, which we’ve mentioned at the beginning, is in character with his natural temperament. For people who study him, Grapes is like a prediction, showing that the later object paintings are not only the natural appearance after the hostility of his creation, but also the self-consistent outcome of art and life.王玉平《咖啡杯》，23x31cm，纸本水彩，2013When Shen Ling, Wang Yuping's wife, told us about his life, she mentioned an anecdote behind a small painting:We go for a drink in Japanese restaurants quite regularly. As usual, we wouldorder a small pot of wine and then pick our favorite cups. Salt Roasted Ginkgo is the one we would definitely order. While chatting with each other, we often peel off the scalding hot shells of the ginkgoes and eat theflesh pleasurably. It tastes so fresh and delicious. Once in a restaurant called Manzou, a waiter was just about to take away those empty shells. Yuping quickly barred him with his hands and said to him, “Leave them with me, please. They have their uses.” The waiter walked away with a bewildered look on his face and I was also confused. Can a pile of empty shells be of any use? He smiled proudly, as if he had got some treasure…王玉平《奶罐》，23x31cm，纸本水彩，2013王玉平《烟蒂》，29.7x42cm，木板丙烯，2020
Wang Yuping painted this plate of ginkgo shells. It looks lovely and warm, showing a feeling of contentment. The reason why the useless and worthless shells can arouse his creative interest is not the image of things, but the chance encounter between people and things in ordinary moments. For the painter, this plate of fruit shell is a delicious relic, a physical evidence of joy and a symbol of pleasurable time. The exhibition title "Salt Roasted Ginkgo" is derived from this work of art. As a poetic composite image, it connects with the exhibition theme. It shows that Wang Yuping rejects any idea of painting grand themes and that he emphasizes the true meanings in ordinary things. For his own life and the beautiful things he meets in life, the painter is so satisfied and so contented that the things he chooses to paint show us indescribable joy, which seems to contain the artistic view of ancient Chinese literati, “expressing emotions through describing objects”. As Lu Ji, an ancient Chinese literati and calligrapher from Western Jin Dynasty wrote in his well-known work of literature, Wen Fu, "Poetry is beautiful because of expressing emotions, while Fu is magnificent because of narrating stories anddescribing things", which is also true for fine art. We can appreciate the realm of " the combination of emotions and objects " in Wang Yuping's paintings. On the other hand, "Salt Roasted Ginkgo" and the paintings of its kind have cancelled the background with spatial depth, and the extensive area of "blank" has become a common feature in his paintings in recent years. These stand in total contrast to his early expressive paintings which were full of fierce strokes. The edges of objects painted with oil paint or propylene often have a virtual effect rubbed with a dry brush. This effect naturally combines the object and the background. There, reality seeps slightly into the void, like the halo of Chinese painting. Thus, the blank background and the harmonious relation between the picture and the background strengthen the symbolism and lyricism of the painted objects respectively, and create the meaning of the picture.
王玉平《浮世绘的小人书-1》，31x41cm，纸本水彩，2015The works selected in the exhibition depict all cherished possessions in Wang Yuping's life, which not only shows his living expenses, but also reveals his collection interest. They often have relaxed and soft visual effects, and the colors in these paintings are not frivolous but bright. They are both voluptuous and simple, bringing complex synaesthesia experience to the viewer. The visual feeling seems to affect the nerves of taste and touch. When it comes to synaesthesia, that is, synaesthesia and symbolism, we can cite an outstanding American painter, Wayne Thiebaud, who also paints objects in daily life, especially his cake series which have bright colors, simple style and great painting texture. It not only depicts the shapes of the dessert, but also makes people associates the tastes of it. Theorists believe that his painting presents the temptation of the consumer society and praise him as a representative of Pop Art, but he does not accept this label and regards himself as a doer of traditional painting. Comparing this case, we can consider the significance of Wang Yuping's object painting from a similar angle. What he paintsare the possessions that he shows favour in his personal life, and they are from this inseparable consumer society. His objects are not that popular, but they have a faint sense of nostalgia. They are like the remembrance of years. At the same time, they also show the constant changes of the "present" in which contemporary people live. Wang Yuping's objects are not a symbol of value, but carries cultural information. He likes to collect objects from all over the world, and even some objects (such as albums of paintings from abroad) are closely related to his creation itself. When he expressed these themes with Chinese painting techniques, it was related to the issue of cultural appropriation. The pictorial album (such as the work, World Art) in Wang Yuping's works not only involves the cultural memory of that generation of painters, but also is an outdated paper commodity. In the recent past, it carried the values of Western art which waswidely spread in China, reflecting that the dissemination of culture often depends on the circulation of cultural commodities. The viewers can't ignore it, although Wang Yuping's object painting has nothing to do with Pop Art, and he should be more indifferent to the interpretation of consumerism than Wayne Thiebaud. Some of his works have a nostalgic taste and cultural complex of the consumption age. Therefore, the exhibition serially presents some paintings with the theme of old pictorial albums and Ukiyo-e pictorial albums, which naturally involves the issue of cultural current.王玉平《椅子-2》，76x56cm，纸本木炭，2019Wang Yuping's paintings are born and grown inward, reflecting the cultural landscape of the modern world in a private way. These paintings are like a layer of soft gauze, filtering out the vulgar dust and receiving multiple cultural resources freewheelingly. Bread, cigarettes, ukiyo-e painting, Dianshizhai pictorial album, small American lamp, Indian tin toys, Istanbul knitted hat......Wang Yuping created the "Natural History" of modern life with personal interest. The large-scale oil paintings in the exhibition have gathered rich cultural symbols and has strengthened the significance of this level. This is the result of personal interests rather than perception. In his work,White Horse and Ukiyoe Painting (2021), Wang Yuping presents complex and diverse information directly. It depicts a desktop covered with pink cloth. When we stand in front of the painting, our eyes will be attracted by the varied items on the table. Therefore, wewatch it with the pleasure of"discovery" to observe every detail. These objects from different cultural backgrounds not only reveal the artist's aesthetic life, but also make people think about the internal relationship between them and his creation. Interestingly, the two empty chairs beside the table show people's absence on the surface. But in essence, "man" does not disappear. He hides in objects. Through the objects in the painting, we can experience a vivid and specific "person". A person who is constructed by pleasure and upbringing, by life and belief, by harmonious and contradictory things in the world - and it is with this multiple construction that the painter has made choices for himself and constructed the free territory of personal spirit.王玉平《虚岁60-3》，200x480cm，布面丙烯、油画棒，2019-2021Looking back at Grapes from 1988, we can recognize some commonness in the difference of visual effects between brightness and dim yellow - they both show the unity of mind and objects, and present the additional charm through being intertwined closely.
Salt Roasted Ginkgo - Wang Yuping
王玉平，1962 年生于北京，现任教于中央美术学院油画系第四工作室。1983 年考入中央工艺美术学院陶瓷系，1985 年考入中央美术学院油画系， 1989 年毕业于中央美院油画系。
Wang Yuping, born in Beijing in 1962, graduated from oil painting department, Central Academy of Fine Arts (CAFA) in 1989. Currently works in the No.4 Studio of the Oil Painting Department, School of Fine Art, CAFA.
Wang Jiang, an active curator and producer of contemporary arts graduated from Central Academy of Fine Arts. He has been curated more than 60 exhibition and independent projects since 2016. His main interests are focus on art sociology and mythology. In addition to his regular curatorial work, he is an adventurer who expands the boundaries of curatorial grammar and gradually establishes a new paradigm.