郭利伟｜盛夜 · 沁岭 · 朱城 · 何夜｜60x240cm｜布面丙烯｜2010年
元宇新纪元，面对当下数字新媒体科技技术的日益迅及和更迭、虚拟变革等社会形态。郭利伟始终以二十年如一日式的修行态度和方式，持续性地深耕于绘画给他带来的另一种生命律动、力量感，执拗信念展现出的主体性描绘，以及通过绘画这一传统表达媒介，凝练地输出着对东方美学观念与当代社会景观在现实环境中的意义所指。
■Yuanyu new era, in the face of the current digital new media technology and technology increasingly rapid and change, virtual change and other social forms.Guo Li wei is always in the 20 years Japanese attitudes and practice way, continuous deep in painting brought him another life rhythm, strength,stubborn belief of subjectivity, and through painting the traditional medium of expression, concise output with the Oriental aesthetic concepts and contemporary society referred to in the meaning of the landscape in the real environment.
COVER PERSON
郭利伟｜一个人的绘画史
文章 · ARTICLE / ©惠书文
图片 · PHOTO / ©一甸艺术
艺术家 · ARTIST / ©郭利伟
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REPRODUCE MY PAINTING HISTORY
郭利伟｜百态｜200x900cm｜布面丙烯｜2020年
How long does it take to form one's painting history?五年？十年？十五年？亦或是二十年……当我抛出关于绘画涉及时长这一概念的设问预设时，其中也包含了绘画的语言形式、语言特质、语言结构、语言情绪等要素。本文试图以70后画家郭利伟的艺术创作为文本个案，再现他在时间轴上更为立体的艺术脉络和绘画方式。也为接下来我们解析他在成长状态、工作生活中觅得的某些有关其个人绘画状貌所流露出的“蛛丝马迹”之现象而埋下伏笔。
郭利伟｜云卷石｜180x360cm｜布面丙烯｜2020年郭利伟｜四石｜180x360cm｜布面丙烯｜2020年
Five years? In ten years? 15 years? Or twenty years... When I throw out the presupposition about the concept of painting involving time, it also includes the language form, language characteristics, language structure, language emotion and other elements of painting. This paper attempts to take the artistic creation of guo Liwei, a painter born in the 1970s, as a textual case to reproduce his more three-dimensional artistic context and painting style on the timeline. It is also foreshadowed for us to analyze the phenomenon of "hints" revealed by some of his personal paintings in his growing state and working life.
元宇新纪元，面对当下数字新媒体科技技术的日益迅及和更迭、虚拟变革等社会形态。郭利伟始终以二十年如一日式的修行态度和方式，持续性地深耕于绘画给他带来的另一种生命律动、力量感，执拗信念展现出的主体性描绘，以及通过绘画这一传统表达媒介，凝练地输出着对东方美学观念与当代社会景观在现实环境中的意义所指。随着时间的延展流逝，场域空间的位移和转换；都构筑了一幅幅具有个人语言温度的现实及理想式的景观图景：即穿引着时代变迁后图像意志的客体表现，从而勾勒了人们生存于当下文化现状和社会文明转变下的理想之境，并叙述个体在当代多样的社会体态中自然生长出的绘画逻辑和生命线索。
郭利伟｜山石系列-积｜150x300cm｜布面丙烯｜2020年郭利伟｜觅林｜150x600cm｜布面丙烯｜2020年郭利伟｜觅语｜150x600cm｜布面丙烯｜2020年
Yuanyu new era, in the face of the current digital new media technology and technology increasingly rapid and change, virtual change and other social forms. Guo Li wei is always in the 20 years Japanese attitudes and practice way, continuous deep in painting brought him another life rhythm, strength, stubborn belief of subjectivity, and through painting the traditional medium of expression, concise output with the Oriental aesthetic concepts and contemporary society referred to in the meaning of the landscape in the real environment. With the passage of time, the displacement and transformation of field space; Has constructed the elegantly temperature of individual language is of realistic and ideal type of landscape picture: the will to wear leads time changes after image of object, so as to draw the outline of the people living in the present culture under the present situation and change of the social civilization of ideal, and described the individual in the natural growth out of a variety of contemporary social body painting logic and clues to life.
郭利伟｜沁寻｜160x360cm｜布面丙烯｜2018年
绘画是个人的事情。当然，我在这里所谈的“绘画”与多于一人或多人合作的作品、项目自然无关。某种意义上来说，绘画似乎可以成为或者照应与个人信仰紧密相关的连接地所在。如同电脑的主要机体一般，它需要局域或全域的网络链接，才可以获取到外部更多具体的实时信息。
郭利伟｜玄城｜200x100cm｜布面丙烯｜2015年郭利伟｜蓝州｜200x100cm｜布面丙烯｜2015年
Painting is a personal thing. Of course, the "painting" I'm talking about here has nothing to do with works or projects that involve more than one or more people. In a sense, painting seems to be, or should be, a place of connection with personal beliefs. Like the main body of a computer, it requires a local or global network connection to access more concrete and real-time information from the outside.
郭利伟｜闻川｜200x300cm｜布面丙烯｜2015年
郭利伟｜山石系列-隽山｜180x150cm｜布面丙烯｜2015年
我不知道绘画这件事情对于郭利伟来说是不是他的一种信仰，但可以确认的是，能让他坚持二十年来坚守绘画的阵地的确不是一件易事，就如同他自己在绘画中可以自由呼吸并出入自如此种状态的真诚对白。正如他自己所说的：“其实绘画对我来讲，是一个矫正我，或者帮助我明白我自己的方式，是我生活的借鉴与写照。我现在思考的不单是我个体，而是整个文化现象。我们是谁？我们怎么画？”
I don't know if painting is a kind of faith for Him, but I can confirm that it is not easy for him to stick to the position of painting for twenty years, just like the sincere dialogue in which he can breathe freely and come and go freely in painting. As he said, "In fact, painting is a way for me to correct me or help me understand myself, and it is a reference and portrayal of my life. I'm not just thinking about me now, I'm thinking about the whole cultural phenomenon. Who are we? How do we draw it?"
郭利伟｜石川｜100x200cm｜布面丙烯｜2012年
郭利伟｜游园系列-连山｜100x200cm｜布面丙烯｜2012年
显而易见，他很享受与绘画独处的静谧时光，个人所在生活中体验出的关于痛苦、纠结、迷惘，或是令其无比兴奋的种种情绪都会潜匿于绘画之中。回到开篇——郭利伟：以一己“Yi”力，再现我的绘画史。在汉语学词汇当中，有诸多语词的同一音调会包含多个词汇，而这个词汇的含义就是我们在白话文里经常说的多音字。如标题中部出现的读音“Yi”一般，此处我们可联想到的有“一”、“艺” 、“译” 、“毅” 、“义”等汉字。它们在不同空间和环境里亦可表现出多种词义，或近义和同义等语言词性。郭利伟｜方圆之间｜200x160cm｜布面丙烯｜2010年
郭利伟｜临山｜60x180cm｜布面丙烯｜2010年
It is obvious that he enjoys the quiet time alone with his paintings, and all kinds of emotions about pain, entanglement, confusion or excitement that he has experienced in his life are hidden in his paintings. Back to the beginning -- Guo Liwei: Reproducing my painting history with my own "Yi" force. In The Chinese vocabulary, there are many words in the same tone will contain more than one word, and the meaning of this word is often said in the vernacular Chinese polyphonic characters. Like the pronunciation "Yi" in the middle of the title, here we can think of Chinese characters such as "Yi", "Yi", "Yi", "Yi" and "Yi". They can also show a variety of meanings in different Spaces and environments, or linguistic parts of speech such as synonyms and synonyms.
郭利伟｜终章｜160x200cm｜布面丙烯｜2009年
本文的主标题：以一己“Yi”力，再现我的绘画史。将从“Yi”的读音中，侧面剖析郭利伟对于绘画的三个“Yi”力。一“Yi”便是艺术的“艺”：纵观其近二十余年的绘画经历，可以看出他的“手艺”和“技艺”已趋成熟和完整性，“手艺”的表述不仅代表了郭氏的本门功夫——“自然与表现”，由孩提时期就已接触画画的起始原点，后至深入学习和探索绘画艺术的持续历程；而“技艺” 的客观展现，则是他付之画面的气息心性，在伴随着作品件数和变化后缓慢修炼而成。第二个“Yi”是为毅力的“毅”，郭利伟的坚毅态度除了表现在对绘画本身的持久毅力输入以外，同时还是他个人对绘画在当代艺术众多表现类别中显现出的最为坚定的艺术载体，即是“画布、笔与生命状态的交融抗争”。而这第三个“Yi”就是意义的“义”，通常意义上，我们认为坚持做一件事情肯定是有意义的，其实不然，换到绘画这件事情上来看，坚持，有可能毫无意义。甚至有的时候会陷入自己营造的“体系圈套”。当然，这对于每一位创作者来说都有可能，但这并不妨碍我们观察郭利伟所塑造的绘画之“义”：由语言组合并发散至画面中各个角落而形成的语序结构和编排方式，继而形成系统式语言的特征情状；由瞬时密闭空间的延伸到时刻开放空间中的绘画生成，皆释义着画家面对周遭环境对于绘画这件事情而产生的真实情绪的有力注脚及在时空转换下隐现的记忆切片。
郭利伟｜闹｜180x150cm｜布面丙烯｜2008年
郭利伟｜缠｜180x150cm｜布面丙烯｜2008年郭利伟｜林｜150x220cm｜布面丙烯｜2008年
The main title of this paper: Reproducing my painting history with my own "Yi" force. From the pronunciation of "Yi", it will analyze guo Liwei's three "Yi" forces for painting. A "Yi" is the "art" of art: throughout the nearly 20 years of painting experience, can see his "art" and "art" has become mature and integrity, "craft" expression not only represents the kwok this door kung fu - "natural and performance", draw from childhood had exposure starting at the origin, after to in-depth study and explore the continuous process of the art of painting; The objective display of "technique" is the breath and spirit of his pictures, which is slowly cultivated along with the number and changes of his works. The second "Yi" is perseverance. Guo Liwei's resolute attitude is not only reflected in his persistent perseverance in painting itself, but also the most determined artistic carrier for painting in many categories of contemporary art, namely "the blending and struggle between canvas, pen and life state". The third "Yi" is the "meaning" of meaning. Generally speaking, we think that it is meaningful to insist on doing something, but in fact, it is not. When it comes to painting, persistence may be meaningless. Sometimes even fall into their own "system trap". Of course, this is possible for every creator, but it does not prevent us from observing the "meaning" of the paintings created by Guo Liwei: the structure and arrangement of word order formed by language combination and spread to every corner of the picture, and then formed the characteristics of systematic language; From the extension of instantaneous confined space to the generation of paintings in the open space at all times, it all means the powerful annotation of the painter's real emotions generated by the surrounding environment for painting and the memory slices looming under the space-time transformation.
郭利伟｜霜降｜90x180cm｜布面丙烯｜2008年
郭利伟｜斑川｜90x180cm｜布面丙烯｜2008年
郭利伟的绘画风貌源于西方表现主义（Expressionism）体系，亦称“表现派”。该流派兴起于二十世纪初，其核心着重表现艺术家内心的丰富情感，通常意义上来表现对现实的扭曲和抽象化。表现主义的源头是对传统绘画艺术形式的抵抗和反击，同时，它在艺术创作的方法论上，我们可以发现，同一时代的画家们毅然抛弃和丢舍了十九世纪前在欧洲长期占有统治地位的“模仿论”或“反映论”的美学气质，从而以个体思想的释放作为主体世界的唯一通道。郭利伟｜安兮｜160x200cm｜布面丙烯｜2008年
Guo Liwei's painting style comes from the Western Expressionism system, also known as "Expressionism". This genre arose in the early 20th century, and its core focuses on the expression of artists' rich emotions, usually in the sense of distortion and abstraction of reality. Expressionism is the source of the resistance of traditional painting art form and fight back, at the same time, it is on the methodology of art creation, we can find that contemporary painters deserts and lost left the 19th century in Europe before long dominance "imitation theory" or "theory of reflection" aesthetic temperament, with the release of individual thought as the main body of the world the only channel.
从郭利伟的绘画特征来看，他的作品表现形式从属于“表现主义”的范畴，并以个人情感的挚诚性植入、介入时代语境，付诸语言的现实线索，从而形成了具有个人特质的绘画张力性。在东方传统文脉的图像遗迹中，他找寻到了与其相关且能够触动个人的图式影迹，截取某一特定形象（山石、树木和人物）的文本图形，并在他的画面中实时出现。不同视觉角度下，异质空间维度里，定格或在不断变化、藏隐的图志意象将变得逐渐清晰，“碎片化”的信息提示引导着观者进入其绘画的主旨内核。状如一个被现代轰鸣机器强烈搅动并来回旋转生成的我们可感知的现实图景，而在这些绘画图像中，景观形象的原型被削弱，有的趋于“扁平化”，期间若隐若现的景观风景，在脱离了具象参照物的比对时，色域的混合交织却呈现另一番别样姿态。郭利伟｜逢海｜180x90cm｜布面丙烯｜2007年郭利伟｜一行｜180x90cm｜布面丙烯｜2007年
From the point of view of guo Liwei's painting characteristics, the expression form of his works belongs to the category of "expressionism", and the sincere embedding of personal emotion, intervening in the context of The Times, and putting into the realistic clues of language, thus forming the tension of painting with personal characteristics. In the image relics of Oriental traditional culture, he found the schemata traces related to them and able to touch individuals, and intercepted the text graphics of a specific image (rocks, trees and people) and appeared in real time in his pictures. Under different visual angles and in different spatial dimensions, the fixed or constantly changing and hidden graphic images will become gradually clear, and the "fragmented" information prompts the viewer to enter the core of the theme of his painting. Shaped like a modern machine generated intense agitation and rotate back and forth we can perceive the reality of the picture, the image in the painting, the landscape image of the prototype are weakened, some tend to be "flat", during the glimmering landscape scenery, when out of figurative reference comparison, color gamut appear mixed to another different attitude.
郭利伟｜三人｜180x150cm｜布面丙烯｜2006年
语言或是符号元素的建构，是辨别个人绘画特质的有效路径。同样，之于郭利伟的绘画创作来看，单个及数个“人物”的出现，无疑为其语言辨识度增加了许多砝码：她／他们的形象有的去除了性别之别，画面中或呈紧张不安的站立之势注视前方；或呈安然自若的卧坐姿态低头垂目；或是以蠢蠢欲动的飞跃起跳之意指向天空……孤独、平静、独处、亢奋、热烈基以概述了他内心丰富而又多样化的情绪表达。2011年创作的《别处寻》，大开大合的色彩布局——像鲜血一般的红色色块之上，只此一通体白色小人位于画面中央的三分之二处，以练功之势翘首遥望布满白色枝叶的树干，中景围绕填充的黑色河流，一直蜿蜒至远景处的山体，灰暗光线映衬下，愈显个体生命的朴实和自然。
郭利伟｜别处寻｜180x150cm｜布面丙烯｜2006年
The construction of language or symbolic elements is an effective way to identify individual painting characteristics. Similarly, in his paintings, the appearance of a single or several "figures" undoubtedly adds a lot of weight to his language recognition: some of her/their images remove the gender difference, or they stand nervously looking forward in the picture; Or in a composedly reclining posture with lowered eyes; Or point to the sky with a ready leap... Loneliness, calm, solitude, excitement, enthusiasm, summarized his inner rich and diverse emotional expression. 2011 found elsewhere, the colour of outsize layout - like blood red color piece, only the perfect white dog two-thirds in the centre of the picture, to practise of looking ahead in white with branches of the tree trunks, middle around filling black river, has been winding to the prospect of the mountain, dark light, The more obvious individual life simple and natural.
山石以及江河的春光乍现，层层铺叠之间，似有一股“出世”与“入世”之感。从2010年的《扬山》到2020年的《尘海》，横跨十年周期的作品变化，原有对空间表述的景深位移，转而变之的则是对空间视角的“平面化”处理，纵有“山不再高，有仙则灵；水不在深，有龙则灵”的古人之气，显然，这是他对自我绘画体系的真实表现和自信表达。而在这同一时期创作的多幅作品更是将转译古典和当代景观的图景面貌推向了另一个维度空间。
郭利伟｜扬山｜150x220cm｜布面丙烯｜2010年
The spring light of the rocks and rivers suddenly appeared, layer by layer, there seems to be a sense of "birth" and "entry into the world". From "The Mountains" in 2010 to "The Sea of Dust" in 2020, the works have changed over a ten-year cycle. The original depth of field of space expression has shifted to "planization" of space perspective. Water is not deep, there is dragon spirit of the ancients, obviously, this is his true expression and confident expression of his own painting system. Many works created during the same period pushed the translation of classical and contemporary landscape to another dimension.
郭利伟｜尘海｜180x360cm｜布面丙烯｜2020年
1992年，美国著名科幻大师尼尔·斯蒂芬森在其小说《雪崩》中这样描述元宇宙（Metaverse）：“戴上耳机和目镜，找到连接终端，就能够以虚拟分身的方式进入由计算机模拟、与真实世界平行的虚拟空间。”In 1992, Neil Stephenson, a famous American science fiction master, described the Metaverse in his novel Avalanche as follows: "Wearing headphones and goggles, finding the connection terminal, you can enter the virtual space simulated by computer and parallel to the real world in the way of virtual dopants."直至2021年Facebook（脸书，脸谱网）表示将在5年内转型成一家元宇宙公司，“元宇宙”无疑成为了当下科技领域最为火爆的概念之一，某一阶段时间内更是一度在朋友圈中疯狂霸屏：数字交互艺术、虚拟现实空间、虚拟货币交易和转换、数字生活空间等。Until 2021, Facebook, Facebook, Facebook said it will transition into a yuan universe company in five years, "yuan" the universe will undoubtedly become the current one of the most popular concept of science and technology, at some stage time is once crazy in your circle of friends of the screen: on the digital interactive art, virtual reality space and virtual currency trading and conversion, digital life space, etc.作为艺术从业者来说，在任何时代，艺术与商业都有着千丝万缕的联系，这种关联也是艺术家们无法回避的现实问题。当我们纵观艺术史上和当代艺术中多位优秀艺术家的成功案例时，似乎艺术只有进入商业的领地才能彰显个人作品的艺术价值（价值并不等同于价格）。不管是出于有意还是无意的主动、被动性，此时的艺术品已经和商业发生关系。而资本商业带来的数字诱惑不仅可以让艺术家为之鼓舞，创作出更多优异的作品，同样，它也可以让艺术家为之“臣服”，从而不断地复制自己，直至个人艺术的消亡……As an art practitioner, in any era, art and commerce are inextricably linked, which is also a practical problem that artists cannot avoid. When we look at the successful cases of many outstanding artists in art history and contemporary art, it seems that only when art enters the territory of commerce can the artistic value of individual works be revealed (value is not the same as price). Whether intentionally or unintentionally, the artwork at this time has a relationship with commerce. The digital temptation brought by capital commerce can not only inspire artists to create more excellent works, but also make artists "surrender" to it, so that they will continue to copy themselves until the demise of individual art...全球范围内的疫情影响，无形之中冲击着各个行业的生存和发展，即使“元宇宙”概念的鼓舞人心的势头也无法拯救这一场全人类的浩劫。当然，艺术商业和市场无疑也受其影响，据2021年不完全数据统计，中国当代艺术的活动由于疫情影响，从线下开幕改至线上或者取消的活动多达近千场。
The pandemic is affecting the survival and development of all industries around the world. Even the encouraging momentum of the concept of the "meta-universe" cannot save this catastrophe for all mankind. Of course, art business and market are also undoubtedly affected by the epidemic. According to incomplete statistics in 2021, nearly 1,000 Chinese contemporary art events were changed from offline opening to online opening or cancelled due to the epidemic.但对于画家郭利伟来说，2021年，无疑是他的艺术丰收年。除了他个人新创作的多幅作品以外，国内的艺术市场拍卖上更是有多件作品以高价位落槌成交，这也让他一度跻身于上海百万级别的艺术家行列。从北京保利到中贸圣佳拍卖，从北京永乐到华辰拍卖；从广东崇正到西泠印社拍卖；再到北京嘉德等艺术拍卖行的频繁亮相，无疑再次证实了画家郭利伟作品中所体现出的学术深度和时代感，然而艺术市场的高价认可并未影响他的创作状态。就像我和他在聊天时：“你对这些成功拍卖的作品怎么看？”他答道：“我不太会在意这些，你看，我还是在这画画，并且会一直画下去”。But for painter Guo Liwei, 2021 is undoubtedly a good year for his art. In addition to his individual new creation of many pieces of work, the domestic art market auction is more a number of works with high price gavel clinch a deal, this also makes him once among the ranks of artists in Shanghai million levels. From Beijing Poly to Zhongmao Shengjia auction, from Beijing Yongle to Huachen auction; From Guangdong Chongzheng to Xiling Seal auction; Moreover, the frequent appearances of Beijing Guardian and other art auction houses undoubtedly confirmed the academic depth and sense of The Times reflected in the works of artist Guo Liwei. However, the high price of recognition in the art market did not affect his creation state. As he and I were talking: "What do you think of these successful auctions?" "I don't really care," he replied. "You see, I'm still painting here and I'm going to keep painting."
我与郭利伟初识于2018年的秋季，记得当时我们一起受邀担任某个国际海报艺术节的活动评委。在线上微信群里互加好友后，我们很少互动，不曾想，线下网友见面已是三年之后的一场青年艺术家的四人联展现场。I first met Guo Liwei in the autumn of 2018, when we were invited to serve as a judge in an international poster Art Festival. After we added friends to each other in the online wechat group, we rarely interacted with each other. Unexpectedly, three years later, we met with offline friends at the scene of a group exhibition of four young artists.郭利伟｜无尽山川｜160x180cm｜布面丙烯｜2021年
熙熙攘攘的人群当中，他的个人形象显得格外引人注目：身材魁梧健硕，头顶一经典款的黑色鸭舌帽；扎着泛着些许银丝的马尾；一袭黑色衣着。此时他正弯腰定睛观瞧墙上的作品，我一个箭步迈上前去，由从正后方拍了拍他的左肩膀，还不等他转头缓过神来：郭老师，我们终于线下见面啦，哈哈……In the midst of the crowd, his personal appearance stands out: he is a burly figure, wearing a classic black cap; With a ponytail tinged with silver; He was dressed in black. At this time he bent over to look at the works on the wall, I a lunge forward, from the rear patted his left shoulder, did not wait for him to turn his head to slow down: Teacher Guo, we finally meet offline, ha ha......郭利伟｜无尽征程 (3)｜160x180cm｜布面丙烯｜2021年
此刻的他或许正在画画，或是在思索布局；而我，也在键盘上敲下了2022年首篇文章的最后一个句号。At this moment, he may be painting, or thinking about layout; And I also typed the last full stop of the first article of 2022.
2021
四城记——大地美术馆，合肥
2020
中国表现——华泰美术馆，上海
未来里——汇智国际商业中心，上海
心游大荒——BAC竹园艺术中心，上海
2019
元·计划——2019当代艺术邀请展，资本画廊，上海
2018
观-郭利伟作品展——盛宅，上海交通大学，上海
一平尺——上海纸本艺术展，春美术馆，上海
2017
尊纸——中国当代艺术澳洲展，阿德莱德，澳大利亚
意象再造·海平线——中华艺术宫，上海
笔墨思源——上海美博美术馆，上海
共生与再现——大壶艺术中心，上海
思考人生——海上新族，春美术馆，上海
2016
海上70——中华艺术宫，上海
观-郭利伟作品展——七月空间，上海
郭利伟作品展——Art Busan，韩国釜山
2015
游园惊梦——朵云轩，上海
故园——郭利伟新作品鉴，2015上海艺术博览会，上海
故园——郭利伟作品展，Art SoHyang gallery，釜山，韩国
哲思与典藏——ART TAIPEI，台北，台湾
第五力——中国艺术家联展，Eigenheim Gallery，柏林，德国
逐梦·釜山——ART BUSAN，釜山，韩国
关于惠书文
惠书文（HuiShuwen）
现任上海 YOUNG 美术馆馆长。
策展人、艺术写作者。CONUTER-FEIT 当代艺术双年展品牌创办人，猎质当代艺术展总策展人。Rainbow box project 发起人，An Art Space 策展人。主要从事中国当代艺术史论研究与写作、当代艺术 批评实践、展览策划及独立艺术空间的创建与运营等工作。主要讲座与艺术项目包括：清华大学美术学院（惠书文：猎质行动——青年策展实践与思考）；鲁迅美术学院（惠书文：策展年记——关于艺术家的成长与自我塑造）；西南大学美术学院·学术讲座（惠书文：行动中的猎质——策展实践与思考）；吉利学院艺术学院·学术讲座（惠书文：策展人的一剂良 药）；中国当代艺术权力资本与市场·学术论坛（论坛主持：惠书文）；《我们如何面对今天的艺术？》 艺术项目总策划；中国商丘抽象国际邀请展联合策展人，首届夜郎谷现场艺术周学术观察。曾策划与合作个展的艺术家包括：倪蓓蓓、山口直久、饭田文香、张静、徐琳琳、赵梦歌、王家增、耿雪、陈露露、孙策、黄启佑、陈雨、黄鹿、杨加勇、曾朴、刘亭君、鲍贤杰、罗天志、曹亮、陈清勇、陈蜀、董冰清、黄珺、黄凌云、蒋佑胜、贾宇豪、李浩、李勇、林惠兴、刘强、米小西、邱兴健、石东旭、时永华、孙小川、王朝、王琳、王韦、王文聃、王旭、陶发、吴江涛、谢蓓、谢珍良、杨涛、曾臻、张丹、张术利、张海君、郑大弓、郑龙一海、朱峰等。
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