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Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观

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Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客



BROWNIE Project 正于群展《身外之躯》呈现艺术家麦海士·辛格的绘画作品,并很荣幸地就展览主题与作品对麦海士进行了采访。


BROWNIE Project is presenting the paintings of the artist Mahesh Singh in the group exhibition "THE BODY OF NON BODY" and is pleased to interview him about the theme of his practice and  the works in the exhibition.




对话艺术家麦海士 · 辛格

超脱与内观


Artist Talk with Mahesh Singh

Transcendence and Inner View




Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客

Mahesh在工作室 ©Swatch Art Peace Hotel



Q:你作品中对于自然的描绘会让人联想到Georgia O’Keefe,同时写实和变形相结合的画面带有浓厚的超现实主义色彩,这种独特的语言是如何生成的?


麦海士:虽然我的作品经常被理解为超现实主义,但有趣的是这是第一次有人将我的作品与Georgia O’Keefe的作品进行比较。据我理解,这种关联来自于我们所描绘的内在事物而不是表象。因此,随着绘画的深入,我更少地忠于视觉保真度和对自然的现实描绘,相反,自然变成了传达某些状态和情绪的舞台或布景,而为了实现这一点,我会调整或变形作品中的某些部分使之更具有表现力和哲思。



Q: The depiction of nature in your works is reminiscent of Georgia O ‘Keefe, combining realism and deformation with a strong surreal touch. How does this unique language come about?


Mahesh: Although my work is often understood in terms of surrealism, it is the first time that a comparison has been drawn to that of Georgia O'Keeffe, which is interesting. As I understand, this correlation comes with the intent to portray something which is internal to us rather than things existing outside. Therefore, as I continue to paint, optical fidelity becomes less of a concern for me. I become less concerned with the realistic depiction of nature, but instead, nature becomes a stage or set to convey some mood or emotion. And in order to achieve this I often manipulate/morph some part of it in my work to make it more expressive and contemplative.




Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客

Georgia O’Keefe在荒漠中创作




Q:在印度成长和中国生活的经验分别是如何影响你的创作的?


麦海士:我的作品中对自然环境的呈现或许来自我在与自然更亲密、更和谐的印度农村长大的经历,此外,东方哲学中对沉思冥想与内观的强调也在我的作品中留下了印记。


在杭州的中国美术学院所接受的教育也显著地影响了我的作品,尤其是形式上,这也给我亲眼看到许多中国传统山水画提供了机会。除此之外,我的两次黄山行也给我留下了深刻的印象。虽然我没有直接借鉴这两者,但我相信它们在某种难以定义的方式上影响了我的作品。我的作品变得更加内观,形式和形状开始有了它们自己的存在和能量。



Q: How did the experience of growing up in India and living in China influence your works, respectively?


Mahesh: Perhaps, the ever present natural environment in my work comes from my experience of growing up in rural India, which is much closer and in sync with nature. Also, the eastern philosophy and the emphasis on meditation and contemplation, and an emphasis to look inward make a mark in my work.


Studying at China Academy of Art, Hangzhou brought a significant change in my work through the mentorship I received there, especially in terms of forms. It was also an opportunity for me to see many traditional Chinese landscape paintings in person. Moreover, my visit to the Yellow Mountain, twice, also left an impression on me. While I don’t borrow from these two directly, I believe it has influenced my work in certain ways, though it is difficult for me to say to what degree. My work has become more inward-looking and forms and shapes are beginning to have their own presence and energy.




Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客
麦海士·辛格  Mahesh Singh
《持白花的僧侣》 Monk with White Flowers, 2021
91.5 x 91.5 cm
布面油画
Oil on canvas




Q:你曾提到过创作中涉及生命中的超验经历(比如《狂热》中因儿时发烧致幻的体验),你认为这种体验和“身心灵”(spirituality)的关系是什么?身心灵状态又是如何折射到你的创作中的?


麦海士:我们通过五感来感知和理解所生活的世界,这些感官所接收到信息经过大脑处理转化为“感觉数据”,从而帮助我们高效地应对环境。它也赋予了我们存在的意义,并扩展了我们的意识——通过我们好恶、欲望、恐惧、野心等等。然而,当我们的感官因为某种原因而停止正常运作时,我们会发现自己身处一个奇怪的世界。《狂热》这幅画描绘了由于高温而导致感官几乎失灵的状态下,在另一个怪奇世界寻找自我。


这样的经历表明我们可以感知和体验到的比平时多得多,我们远不止躯体而已。它为我们提供了一瞥,或瞬间打开了提高知觉和意识的大门,我相信这是灵性的基础。东方强调冥想、斋戒和沉思,这些都是通过特定的方式训练我们的身体或大脑来引导我们走向灵性的方向。



Q: You've mentioned that your works involved transcendental experiences in life (For example, the psychedelic experience caused by fever in childhood in Fever). What do you think is the connection between this kind of experience and spirituality? And how is spirituality reflected in your works?


Mahesh: We perceive and understand the world we live in through our five senses. The information we receive through our senses is then processed and translated into “sense-data” through our brain, which then helps us to navigate our environment effectively and efficiently. It also gives meaning to our own existence and expands our consciousness- through our likes and dislikes, our desires, fears, ambitions and so on. However, if due to some reason our senses stop working properly we find ourselves in a strange world. The painting Fever is a depiction of finding oneself in that strange world, in this case, brought about by almost shutting down of the senses induced by high temperature.


Such experiences tell us that we are capable of perceiving and experiencing a lot more than we usually do, that we are not just our body. Such kind of experiences offers us a glimpse, or opens up some doors momentarily for a heightened awareness and consciousness, which I believe is the basis of spirituality. The Eastern emphasis on meditation, fasting, contemplating, these all lead one in the direction of spirituality by training our body or our mind in certain ways.




Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客
麦海士·辛格  Mahesh Singh
《狂热》 Fever, 2020
107 x 122 cm
布面丙烯
Acrylic on canvas




Q:画面中的人是谁?他在画面中是一种什么样的存在?


麦海士:我的一些画是以自我为参照的,例如《狂热》,所以我会出现在其中。在其他绘画中,不同的人物可能会出现,他们或具体或抽象,或大或小,取决于绘画的主题。


在中国传统山水画中,有“画眼”的概念,它通常指代画中的一些元素或形式,有助于为画面其他部分提供一个落脚点。所以画之眼可以是一个孤独的人物或山脚下一座小屋,以此来理解和解读画面的其余部分。我画面中的人物很多时候也起到同样的作用,作为画眼或画魂,尽管在其他时候他们可能不止于此。它通常为观众理解或体验画面的其余部分提供一个起点。



Q: Who is the person who often appears in your paintings? What is his role in the image?


Mahesh: Some of my paintings are self-referential, such as Fever. So I appear in them. In other paintings, different figures may appear and they can be specific or non-specific, big or small, depending upon the theme of the painting.


In traditional Chinese landscape painting, there is this concept of “The Eye of the Painting” which generally refers to some element, or some form within the painting which may help provide a context to the rest of the image. So, the eye of the painting can be a solitary figure, or a small hut at the base of a mountain, and through these, the rest of the painting can be understood or unraveled. The figures in my work many times also serve the same purpose, of being the eye or the spirit of the painting, though at other times they can be more than that. It very often gives a starting point for the viewer to understand or experience the rest of the painting.




Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客
麦海士·辛格  Mahesh Singh
《狗狼之境》 In Between Dog And Wolf
170 x 190 cm
布面丙烯
Acrylic on canvas




Q:你的笔触非常细腻,有让人长久驻足观看的能力;比如身体的毛流,水纹,山体的脉络,以及使用细腻的色彩去进行光的描绘。这种会让人联想到印度细密画、点彩画、甚至中国工笔画的创作方式可以溯源到何处?


麦海士:我可以理解从我在绘画中经常使用的细腻笔触中看见与印度细密画、点彩画或工笔画的联系。尽管我很喜欢工笔画,但我从来没有在自己的作品中研究过上述这些技巧。


也许,我作品中细腻的笔触是试图隐藏艺术家在绘画过程中投入的物理能量:粗旷而大胆的笔触能够展现创作中的身体能量和活力;而我希望我的画面带有一种宁静致远的感觉,因此选择更小而精细的笔触。


说到我的作品中对光的描述,我相信在《狗狼之境》的创作后,我对它有了更强烈的意识。这幅画的标题取自一个法国短语的翻译(Entre chien et loup),描述的是介于黄昏和黎明的时候,光线让人很难区分狗和狼,换言之,描述的是一天中某个没有足够的光线,事物开始模糊交融的时刻。这幅画之后,我的作品中的光变得更加柔和和微妙,但仍保留着它自身的意义。



Q: Your brush stroke is very delicate with the ability to have people to stop and gaze for a long time. E.g. the hair flow of the body, the water wave, the veins of the mountain, and  you use an exquisite palette to draw light. People can naturally associate the technique with Indian miniature, pointillist, and even Chinese Gongbi paintings. Where did these characteristics come from?


Mahesh: I can understand the association drawn with the Indian miniature, pointillist or Gongbi painting techniques in terms of the delicate brush strokes I often employ in my paintings. Though I like Gongbi paintings I have never studied these above mentioned techniques to integrate into my own work.


Perhaps, the delicate brush strokes in my work are an attempt to hide the physical energy which an artist invests in the process of painting. Thick and bold brush strokes have the capacity to impart a sense of physical energy and dynamism which goes in the process of creation. I believe, since I want my work to carry a sense of silence and stillness I go for smaller and delicate brush strokes.


In terms of depicting light in my work, I believe I have become more conscious of it since the execution of In Between Dog and Wolf. The title of this painting is a translation of a French phrase which describes the time during dusk or dawn when the light is such that it becomes difficult for one to distinguish between a dog and a wolf- in other words, the time of the day when there is not enough light and things start to merge and blend into each other. After this painting light in my work has become softer and subtler, yet retaining its own significance.




Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客
麦海士·辛格  Mahesh Singh
《托词》 Alibi, 2018
88.9 x 129.5 cm
布面油画,丙烯
Oil and acrylic on canvas




Q:展开聊聊你作品中自然和身体的意象吧!他们是怎么来的,以及接下来他们会以何种样貌出现?


麦海士:人体经常出现在我的作品中——有时以一个很小的形象出现,形象的具体程度取决于绘画主题;有时它可能更加突出。在我最近的一些作品中,人体被融入自然之中,比如使人联想到睡着的人的山脉,或可以被解读为精神存在或阳具象征的树立的岩石(取决于观者的解读)。


我相信我作品中自然和人体的融合暗示了我们本是自然的一部分,正如我们包含了灵魂或精神,大自然也包含了我们。在我的作品中,很多时候人体被包含在自然环境中,其他时候,人体会变形成为自然本身的一部分。


它也指出了一个方向,即通过我们的感官体验,我们有能力超越时间和空间,这也正是《托词》的主题,同时,意识到由于身体物化所带来的限制,我们无法逃离时间和空间。


在我最近的一些作品中,结构也开始出现。如在《入口》中,它提供了一个人造和自然之间的链接点,这正是作品标题的由来。也许,这是由于我在城市的室内中消耗了太长时间,但我不确定它会往哪个方向发展。很多时候,我只是作为图像的接受者并将其显化在画布上,图像来临时,我探索它们。但我相信,大流行、随之而来的封锁、久违的重返印度,都会给接下来的作品带来一些新的灵感。



Q: Let’s talk about the image of nature and body in your works! How do they serve as a theme in these works? How will they be presented next?


Mahesh: The human body often appears in my work - sometimes it may appear as small human figures which may be specific or non-specific depending upon the subject of the painting. At other times it may be more prominent. Recently, in some of my works the human body is embedded in nature itself, such as a mountain range reminiscent of a sleeping man, or standing rocks which could be read as a psychic presence or phallic symbol (depending upon the interpretation of the viewer).


I believe the intermingling of nature and human body in my work alludes to the fact that we are part and parcel of nature itself. Just the way we contain a soul or spirit, the nature contains us. So many times the human body is “contained” within the natural environment in my work. And at other times, the human body will morph to became a part of nature itself.


It also points to the direction that through our sensory experiences we have the ability to transcend time and space, which is the theme of the painting Alibi, while, at the same time, also being aware of the limitations posed by the physicality of the body- that it cannot escape time and space.


In some of my recent work architecture has also started to appear, such as Threshold. It provides a juncture between the man-made and the natural, hence the title of the painting. Perhaps, it is due to the fact that I have stayed in the city for a long time at a stretch, also indoors. But I am not sure in which direction it will go. Many times I work as the receptor of an image and then translate it on the canvas. I explore the images as they come. But I am sure, the pandemic, subsequent lockdowns, and going back to India after a long time, all these will bring something new to the coming works. 




Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客
麦海士·辛格  Mahesh Singh
《入口》 Threshold, 2022
90 x 90 cm
布面油画
Oil on canvas




Q:聊聊《阿尔巴》中的兔子的出现。


麦海士:这幅画中兔子的外观以及名字“阿尔巴”都是指一只在蓝光下会发出荧光的转基因兔子。阿尔巴作为一件生物艺术作品,由巴西艺术家爱德华多・卡茨于2000年完成。在中国,著名艺术家李山曾试图为自己的作品转基因一只猴子,但由于伦理原因被禁止。


这幅画是对人类文明“进步”的思考,我们将古人在洞穴墙壁上描绘狩猎的仪式性场景作为人类最早的表达和艺术形式,在现代社会,我们有能力转变动物本身,而有些人正以艺术之名这样做。这幅画试图以船的意向总结这段旅程,并不想发问或回答任何问题。



Q: Please talk about the appearance of the rabbit in Alba.


Mahesh: The appearance of the rabbit in the painting as well as its title Alba both refers to a genetically modified rabbit which glowed florescent green when exposed to blue light. Alba is considered a work of Bio-Art which was done in the year 2000 by the Brazilian artist Eduardo Kac. In China, the prominent artist Li Shan once wanted to genetically modify a monkey for his art but was not allowed to do so due to ethical reasons.


The painting is a contemplation on the “moving forward” of human civilization. We understand the ritualistic animal hunting scenes drawn on cave walls by the ancient people as the earliest form of human expression and art. In the contemporary world we have the ability to modify the animal itself, and some people are doing it in the name of art. The painting is an attempt to sum up this journey, which is represented by the boat. The painting does not wish to ask or answer any questions.




Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客
麦海士·辛格  Mahesh Singh
《阿尔巴》 Alba, 2022
90 x 70 cm
布面丙烯
Acrylic on canvas




Q:你如何理解风景画中的崇高感(sublime)?


麦海士:我认为崇高可以有不同的理解方式,就风景画而言,我认为崇高感是用自然最纯粹最原始的形式描绘——自然具有压倒性的力量,而人类在它面前感到自身的渺小和微不足道,我们通常可以在西方风景画中看到这种描绘方式。


而东方的方式是与自然和谐共存,自然不是某种需要与之对抗的东西。在很多中国传统风景画中经常可以看到小人物,如和尚或渔夫,尽管自然环境占主导地位并十分强大,这些小人物却怡然自得的沉浸在自己的日常活动中,两者之间几乎毫无违和。


就我自己的作品来回答这个问题,画面中的自然有着强烈的存在感,但我通常不希望画中人物被它所淹没,无论它们有多小。尽管在我的一些作品中看起来是如此,但我希望我的作品中的风景能散发一种精神能量,而不是自然力量。因此,很多时候我的作品被认为与梦境有关,而不是单纯关于外界存在的自然景观。



Q: How do you understand the sublime in landscape paintings?


Mahesh: I think the sublime can be understood in different ways. The way I understand the sublime in terms of landscape paintings is the depiction of nature in its purest and rawest form - to the extent that the natural forces become overwhelmingly powerful and the man feels small and insignificant in front of it. This kind of depiction we usually find in western landscape paintings.


However, the eastern approach is the co-existence and harmony with the nature. Therefore, nature is not something to be fought against. In many Chinese traditional landscape paintings, we find small human figures, such as a monk or fishermen, and even though the natural environment is dominant and powerful these small figures are at ease with themselves, indulging in their daily activities leisurely. There is hardly any clash between the two.


Responding to the question in terms of my own work, there is a strong presence of nature in it, but I usually don’t intend for the human figure present in the painting to be overwhelmed by it, no matter how small it may be. And even though it may seem so in some of my work, I intend the landscape in my work to exude a sense of psychic energy, rather than that of natural forces. Therefore, many times my works are perceived as something relating to dreams, rather than some natural landscape existing outside.




Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客
麦海士·辛格  Mahesh Singh
《阅读者》 The Reader, 2022
90 x 110 cm
布面油画
Oil on canvas




Q:你的绘画呈现出多重维度,需要跟随不同的指引来进入,当观众面对你的画面时,你希望他们以纯粹的直觉来感知,还是理性分析挖掘不同元素的内涵和深意?


麦海士:我通常会从某些想法开始创作一件新的作品,这个想法可能是我内心或外部的一个主题,或脑海中闪过的一些我乐于转化到画布上的基于情绪或经验的图像。因此,当我构思或创作时,总是有一个特定元素是预先确定的。但当绘画完成并被展示时,我通常倾向于让观众用他们自己的方式去解读。有些人富有直觉并相信凭直觉能理解画面,而有些人可能是理性而善于分析的,倾向于连接不同的线索去到达某种意义。


对我而言,同一幅画被不同的人以不同的方式理解是非常有趣的,有些时候,倾听观众对我的作品的理解和解读能帮助我更好地理解自身的创作,偶尔,也会为我的新作品提供一些见解。


最后,如果我的作品能让人们停下来沉思,自省片刻,对我来说就足够了。



Q: Your paintings present multiple dimensions and allow different perspectives to enter. When audiences are in front of your paintings, do you prefer them to perceive by complete intuition, or analyze and excavate the connotation and meaning of different elements rationally?


Mahesh: When I start with a new work I usually start with certain ideas. The idea could be in the form of a subject matter which could be internal or external to me, or in the form of some fleeting images based on some emotions or experiences passing through my head, which I would like to transfer onto the canvas. So there is an element of specificity when any work is conceived or executed. But when the painting is done and it is out there on display I usually prefer to leave it up to the viewers to read it the way they would like to. Some people are intuitive and they trust their intuition to understand an image, while others may be rational and analytical and they would like to connect the dots to arrive at some meaning.


For me, it is interesting to know how the same painting can be understood differently by different people. Many times as I listen to the viewer, the way they understand or interpret a painting helps me understand my own work better. Occasionally, it would offer some insight for my new work as well.


In the end, if my work allows someone to pause and have a few moments of contemplation and self-reflection that would be good enough for me.




Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客
BROWNIE Project 群展《身外之躯》展览现场 | Exhibition view




Q:群展《身外之躯》中展出的都是你比较近年的作品,在创作这系列作品时,你自己处于何种创作状态和生活状态?


麦海士:展览中展示的所有作品都是我在2017年年末抵达中国之后完成的,其中有些创作于我在中国美术学院学习阶段,其余的则是在上海完成。


回顾过去,我发现自我来到上海后,工作和生活条件发生了很大变化,很大程度是受疫情影响。在杭州的最初两年美好而有趣,有很多社交活动和思想交流。我参加了学院一个新开始的国际项目,这个项目有很好的支持系统。但当疫情爆发后,几乎所有事都突然停滞,我所有回国过寒假的朋友都不能回来了。


随后,到上海大学攻读博士学位成为了一段孤独的经历。住在校外,所有课程都在线上,围绕疫情的许多措施也让社交活动十分受限。


然而,现在我在斯沃琪艺术和平酒店做驻地艺术家,这是一个可喜的变化。位于城市中心,有良好的工作环境和支持系统,与来自不同流派和背景的创意人士一起生活和工作。



Q: THE BODY OF NON-BODY presents your works in a recent couple of years. When working on this series of paintings, what are your working and living state?


Mahesh: All of my works presented in the exhibition were executed after I arrived in China in late 2017. Some of the paintings from the exhibition were done in Hangzhou, when I was studying at the China Academy of Art. The rest of the paintings are done in Shanghai.


As I look back, I see that the working and the living condition has changed on a big scale since I arrived in Shanghai, largely due to the pandemic. The beginning two years in Hangzhou was nice and fun, with a lot of social interaction and exchange of ideas. I was in a newly started international program at the academy which had a good support system. But when the pandemic started, almost everything shut down all of a sudden, and all of my friends who had gone back to their respective countries for a short winter break could not come back.


Later, moving to Shanghai as a PhD candidate at Shanghai University became a solitary experience. Living off campus, attending all the classes online, as well as many restrictions surrounding the pandemic protocols allowed very limited opportunities for social interaction.


However, for few months now I am an artist-in-residence at Swatch Art Peace Hotel, Shanghai, which is a welcome change. Located at the heart of the city it has a good working environment and support system, with creative people from different streams and backgrounds living and working together.




Q:《身外之躯》中是否有其他某位艺术家的作品令你感兴趣?最近是否有好的展览或作品推荐给大家?


麦海士:我认为展览中的所有艺术家都有自己的个性和语言,同时也被一个共同的主题链接在一起。金赞颂的作品以其浓厚大胆的笔触与新鲜的颜料而脱颖而出,传达出一种肉体、血液、年轻和脆弱的感觉。陈孟涵的作品以其神秘、图腾和仪式感吸引我。黄含康在他的作品中有效地刻画了人体的内在性和物质性。


我最近没去太多展览,所以我无法推荐。但对那些可能不熟悉的人,我想推荐俄罗斯艺术家尼古拉斯·洛里奇,他曾多次前往中国和印度,并在作品中运用了东方神秘主义。



Q: Do any other artists’ works interest you in the THE BODY OF NON BODY? Are there any works or exhibitions that you recommend to us?


Mahesh: I think all the artists showcased at the exhibition have their own personality and language, while at the same time bound together with a common theme. Chansong Kim’s work stands out for its use of thick and bold brush strokes with fresh paint, conveying a sense of flesh, blood, youth and fragility. Maggie Menghan Chen’s work appeals to me for it possesses a sense of occult, totem and rituals. Hankang Huang effectively portrays the interiority of the human body and its corporeality in his work.


I haven’t been to many exhibitions recently, so I cannot recommend one. But for those who may be unfamiliar, I would like to recommend looking up for the Russian artist Nicholas Roerich, who traveled extensively both to China and India and employed eastern mysticism in his work.




Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客
BROWNIE Project  群展《身外之躯》展览现场 | Exhibition view




Q:据我们所知明年你有回到印度的计划,这会是一趟什么样的旅程?


麦海士:由于疫情导致的封锁,我已经超过四年没有回印度了,所以我很期待能够回去一段时间。能够回家,见见朋友真的很好,我肯定会休息和放松一下。


同时,疫情和与之相关的限制迫使人们在很长时间内过着与平时不一样的生活,关于这些事情的一些问题仍在我脑海里挥之不去,很有可能会影响我的新作品。


除此之外,我还想参观一些新的地方,为将来的创作找一些新的灵感与图像,同时回顾在中国度过的时光。我觉得生活空间的内在性可能会在我接下来的作品中有所体现。


我也计划几个月后回到中国。



Q: As we know you are planning to go back to India for a while next year. How do you envision this journey?


Mahesh: I have been away from India for more than four years now, largely due to the pandemic-induced lockdown, so I am looking forward to getting back for a while. It will be good to be back home as well as to meet friends. I definitely plan to rest and relax for a while.


At the same time, the pandemic and many restrictions related to it have forced us to live differently for a long time than we usually did. I feel questions related to these things will still be there in the back of my mind, which very likely will influence my new work.


Apart from that, I wish to visit some new places, find some new ideas and images for my future works, while reflecting back on the time spent in China. I feel the interiority of the spaces we live in may make a presence in some of my coming works.


I plan to come back to China in a few months.




Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客
BROWNIE Project  群展《身外之躯》展览现场 | Exhibition view








关于艺术家

About the Artist


Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客


麦海士·辛格

Mahesh Singh


麦海士·辛格(1985,波卡罗,贾坎德邦)出生成长于印度,他本科与硕士毕业于新德里的国立伊斯兰大学,同时获得了中国美术学院当代艺术专业的油画国际硕士(IMFA)学位,目前为上海大学博士候选人。


受东方宗教和哲学中转变、超越和神秘的观念影响,他的绘画呈现出内观的体验,并带有一种真空般的静止和永恒。他倾向于使用或明晰或晦涩的元素来构建画面,用一种充满暗示的方式引人深思,而画面主体通常为某种景观,来充当意识、梦和记忆的载体。从自身身心灵的经验出发,麦海士试图让他的绘画可以在不同的维度被审视与解读。空间与身体,视觉与心理,艺术家与画布,这些链接与对话引领观者以直觉进入超越之旅,引发片刻的沉思与冥想。


Mahesh Singh (b. 1985, Bokaro, Jharkhand) was born and brought up in India. He got his BFA and MA degree from Jamia Millia Islamia University in New Delhi and holds an IMFA from the China Academy of Art, specializing in oil and acrylic painting.


Influenced by the notions of transformation, transcendence and mystery in eastern religions and philosophies, Singh’s paintings present an inner experience with a sense of vacuum of stillness and eternity. He tends to use distinct or obscure elements to build a picture, which is full of indications to arouse people's deep thinking. Landscape usually serves as his subject, the carrier of consciousness, dreams and memories. Drawing from his psycho-somatic or psycho-spiritual experiences, Mahesh tries to suffuse his work with an awareness that allows the work to be contemplated and considered on multiple levels. Space and body, vision and psychology, artist and canvas, these connections and dialogues lead the audience to enter the journey of transcendence with intuition and trigger a moment of meditation.



教育背景:
2025 博士候选人,上海大学上海美术学院,上海,中国
2020 艺术硕士,中国美术学院,杭州,中国
2021 大众传播硕士,国立伊斯兰大学,新德里,印度
2009 艺术学士,国立伊斯兰大学,新德里,印度

部分展览:
2022 山!山!山!艺术节,长沙,中国
2021 后浪艺术博览会,华萃艺术,上海,中国
2019 双影——当代艺术展,天际线美术馆,杭州,中国
亚洲艺术节,昌原,城山艺术馆,韩国
2018 来自东方的信:青年国际绘画展,中国美术学院博物馆,杭州,中国
太阳下的所有艺术:中国美术学院海外留学生教育40周年,中国美术学院博物馆,杭州,中国
2014 全印度美术和工艺协会,全国摄影年展,新德里,印度
2009 第12届全印度绘画展,国家拉里特卡拉学院,勒克瑙,印度

获奖经历和驻留项目:
2022 卡拉南德大奖,Prafulla Dahanukar艺术基金会,孟买,印度
艺术家驻留项目,斯沃琪和平饭店艺术中心,上海,中国
2017 中国政府奖学金,国际艺术硕士,中国美术学院,杭州,中国
2014 三等奖,完美的德里:摄影比赛和展览,由印度德里政府的信息和宣传主任组织


Education:
2025 PhD Candidate at SAFA, Shanghai University, Shanghai, China
2020 IMFA, China Academy of Art, Hangzhou, China
2012 MA in Mass Communication, Jamia Millia Islamia University, New Delhi, India
2009 BFA, Jamia Millia Islamia University, New Delhi, India

Selected Exhibitions:
2022 Changsha Mountain Art Festival, Changsha, Hunan Province, China
2021 Post Wave Art Fair, Hua Cui Art Museum, Shanghai, China
2019 Double Shadows- A Contemporary Art Exhibition, Skyline Art Gallery, Hangzhou, China
Asia Art Festival, Changwon, Seongsan Art Hall, South Korea
2018 Letters from the East: Inter-Youth International Painting Exhibition, Museum of China Academy of Art, Hangzhou, China
All Art Under the Sun: The 40th Anniversary of Education for the Overseas Students, China Academy of Art, Museum of China Academy of Art, China
2014 All India Fine Arts and Crafts Society, National Annual Exhibition of Photography, New Delhi, India
2009 12th All India Painting Exhibition, State Lalit Kala Akademi, Lucknow, India Grants

Awards and Residencies:
2022 Kalanand Grand Award, Prafulla Dahanukar Art Foundation, Mumbai, India Artist-in-Residency, Swatch Art Peace Hotel, Shanghai, China
2017 Chinese Government Scholarship, International Masters of Fine Arts, China Academy of Art, China
2014 3rd Prize, Picture Perfect Delhi: Photography Competition and Exhibition, Organized by Director of Information and Publicity, Govt. of NCT of Delhi, India






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Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客

Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客




Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客Artist Talk | 麦海士·辛格谈绘画中的灵性:超脱与内观 崇真艺客


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