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尹昌志 YIN CHANGZHI · WALKING WITH THE BALL 走步（现场 +）

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尹昌志 YIN CHANGZHI · WALKING WITH THE BALL 走步（现场 +）崇真艺客

丰塔纳手起刀落，划破的画布让人募然惊醒。一个虚幻的平面被拽入真实的时空，同时也打开了绘画的新路径。还能想到更多的画家，他们以任何裁判也叫不停的“犯规”动作，把绘画带到新的地带。尹昌志能持续地工作，很大程度上也得益于这种不断突入“禁区”带给他的心跳和激励。从某个获得自觉的时刻开始，尹昌志一直试图打破程式化的规则，在绘画的边界处寻找出口，以步步紧逼的方式直面绘画本身，对其物质化的肢体进行重新检验、解剖和缝合，并为之“量体裁衣”。

绘画工作的过程或静或动，且伴随着风险，因为在连续行动中需要随时立定，进行即时的观察和决断。通过不断拆解和建构特定的绘画框架，以摆脱平面的束缚，利用布料的重叠和错位，并且使用强烈的对比色来加强物料之间的冲突和对抗，使画面/画体处于某种新鲜的感知状态。同时，色层之间的相互干扰和避让，布料边缘的隐藏和外显，形成距离不定的临时组合，涂抹颜色的布料不再停留于单一空间的结构中，而是处于前后空间的拉扯中。物料在假定和直觉的驱动之下，经过反复挪移和走位来提示自身的不确定性和可能性。临时的动作和念头不断催生出新的局面，加速对现状和规则的重构。绘画不再沉迷一个稳固可靠的整体，而是围绕一个个实体生发出的各种关系的集合，是剪贴板上的聚集，是感性的若隐若现，也是随机的偶然选取，但在尹昌志决心收手的那一刻，眼前也确乎是个命中的事实，一个以作品名义存在的结果。

展览呈现作品，也关乎过程。此次展览取名“走步”，指涉了两个层面：一是对工作过程的直白表达 - “走一步，看一步”；二是关于工作方式及其结果，意在表明一种与常态相左的“违规”操作来实现对绘画目标的抵达。一个展览像是一个与自己，也是与观者的约定。尹昌志希望以一种非常规的方式来兑现关于感觉和智性的双重承诺，邀请观者在身临其境的当下体验它的物性和善变，以及它如何撩拨潜藏的绘画记忆，并与之游戏。

尹昌志，1984年出生于安徽东至；2005年毕业于安徽师范大学美术学院（B.A.）；2009年毕业于中国美术学院油画系（M.A.）；现生活，工作于安徽芜湖。

Fontana took a knife and cut the canvas , which woke people up. An illusory plane is dragged into real space-time, opening up a new path of painting. One can also think of more painters who bring paintings to new areas with any referee's constant "foul" action. Yin Changzhi's continuous work also largely benefited from the heartbeat and encouragement brought by this continuous penetration into the "restricted area". From a moment of consciousness, Yin Changzhi has been trying to break the stylised rules, finding an exit at the boundaries of painting, facing the painting itself step by step, re-examine, dissect and suture its materialised limbs, and "tailor-made".

The process of painting work is static or dynamic, accompanied by risks, because it is necessary to make immediate observations and decisions at any time during continuous operations. By constantly disassembling and constructing specific painting frames to get rid of the shackles of planes, taking advantage of the overlap and dislocation of cloth, using strong contrast colours to strengthen conflicts and confrontation between materials, the picture/body is in a fresh state of perception. At the same time, the colour layers interfere with each other and avoid each other, and the edges of the cloth are hidden and displayed, forming a temporary combination of uncertain distances. The coloured cloth no longer stays in the structure of a single space, but is in the tension of the front and rear spaces. Driven by assumptions and intuitions, materials are repeatedly moved and moved to indicate their own uncertainty and possibility. Temporary actions and ideas continue to lead to new situations and accelerate the reconstruction of the status quo and rules. Painting is no longer addicted to a stable and reliable whole, but a collection of various relationships around entities, a gathering on the clipboard, a looming sensibility, and random accidental selection. At the moment Yin Changzhi was determined to stop, it was indeed a hit fact in front of him, a result of existence in the name of the work.

Exhibition presents works, which is also related to the process. The exhibition is named "Walk with the Ball", which refers to two aspects: first, a straightforward expression of the work process - "step by step, look at one step"; second, about the working method and its results, which is intended to indicate a "violation" operation that is different from the norm to achieve the arrival of the painting goal. An exhibition is like an agreement with oneself and the viewer. Yin Changzhi hopes to fulfill his dual promise of feeling and intelligence in an unconventional way, inviting viewers to experience its material nature and fickleness in an immersive moment, and how it flirts with hidden painting memories and plays with it.

Yin Changzhi was born in China in 1984. He studied painting at Anhui Normal University in Hehei, China and further at China Academy of Art in Hangzhou, China. Currently, he lives and works in Wuhu, China.