SGA 沪申画廊 上海|学术文章|吴蔚:建构的视线

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SGA 沪申画廊 上海|学术文章|吴蔚:建构的视线 崇真艺客
SGA 沪申画廊 上海|学术文章|吴蔚:建构的视线 崇真艺客
SGA 沪申画廊 上海|学术文章|吴蔚:建构的视线 崇真艺客


Marking the foundation for cognition and thought, our sight is central to how we perceive the world. The exhibition "Sight Lines" brings in a wider horizon to the theme of 'sight', not only as a sensory perception of objective things and phenomena, but also as a creative capacity to construct something new. The works on view arise from a culmination of objects observed and depicted through the eyes of four artists. As subjective and individualised entities, they revise, expand and transform our orthodox visual experiences, thereby leading us to understand, recognise, re-perceive and re-imagine our existing surroundings.

SGA 沪申画廊 上海|学术文章|吴蔚:建构的视线 崇真艺客

美国心理学家 James J. Gibson (1904 - 1979)

如吉布森 (1904-1979) 的《视知觉理论》所指出的,知觉的原材料不是感官数据,而是环境信息;视觉发生于大脑中,而不是在眼睛里。本次参展的四位艺术家的作品都涉及线与抽象的概念,他们经由画笔记录下变化的感知,而不只是由视网膜上的图像所主导的观看。画中的线迹既是绘画的基本元素之一,亦是伏延千里的思维的形状,是一种精神状态的投射。这些绘画不与观众分享共同经验,即绘画的目的不是向观众展示一种可识别的视角或经验;它们与个体经验亲密无间,从而为观众带来一些他不曾见过,也未曾体验的东西,或惊讶,或疑惑,或触动心弦,或豁然开朗。它们让我们明白,某些形式的抽象需要长时间的、沉思的凝视,某些隐匿的情感也需要在内观中获得释放。

American psychologist James J. Gibson's (1904 - 1979) wrote in his Theory of Visual Perception that the raw material of perception is not sensorial data but environmental information. In other words, the brain completes the picture vision of what we see, not the eyes. Here, the presented works address the notion of line and abstraction, recording perceptual fluctuations and transience through the artists' brushwork rather than a mimetic transmission of images received by their retina. Similarly, line, which appears as a fundamental element found in all these works, refers also to a stream of thought and a reflection of spiritual condition. These paintings do not share a common experience with the audience, i.e., they do not seek to evoke a form of recognisable perspective or experience from their audience. Instead, they carry a level of intimacy stemmed from the artist's personal experience and reveal to us something inimitable. They can surprise, befuddle, tug on our heartstrings, or/and open our eyes. They endow us with an understanding that some works require a long, contemplative gaze, and that our subconscious emotions require us to internalise the path of seeing into a meditative reflection.

SGA 沪申画廊 上海|学术文章|吴蔚:建构的视线 崇真艺客

梁铨 Liang Quan, 柳浪闻莺之一 Birdsong in the Willows no.1, 2020


For a talented painter, the challenge is not about achieving a particular visual outcome, but avoiding settling too immediately or comfortably with one preferred effect. One should always be sourcing for new artistic ventures, setting new obstacles and shuffling with new formulas so as to stimulate his/ her creative process. Such exemplary is found in artist Liang Quan. As someone who actively looks ahead, Liang's art is a seamless blend of his artistic intuition and philosophical ideologies. In terms of method, Liang creates by re-assembling shredded rice paper fragments and dividing his composition into geometric forms. Strictly speaking, the accurate rendering of texture or colour with Chinese ink on paper is not Liang's primary goal. Instead, his focus resides in the conceptual articulation of layering, combination, movement and spatial distance onto paper, pursuing to balance formal freedom on the basis of structural painting. The juxtaposition between the frailness of rice paper and the stability of his pictorial composition exudes mesmerising tension. And while his works appear chiefly abstract–– with un-prescriptive complexity and contradiction–– they convey a complete and immersive visual and psychological experience that honours great traditions throughout history. Happenstance or not, these lines and folds, which peek along the perimeters of his paper, create a looping timeline that link us between the past and the present.

SGA 沪申画廊 上海|学术文章|吴蔚:建构的视线 崇真艺客

钱佳华 Qian Jiahua, 天秤少女 Libra Girl, 2021


In Qian Jiahua's paintings, lines form contours, shapes, images, and objects. While her paintings may draw parallels to the characteristics of Colour Field painting, they are in fact, a graphic interpretation of the world through the artist's lens. Sometimes, her varying red, orange, yellow or green fields act as fillers that create structural support for her lines. Look again, and their function switches to that of a hinge that opens to the next room, an implication of the brewing momentum lodged beneath each layer. Here, we see a gamut of hard-edge colour planes readily permutated into stripes, blocks, and lanes, all harmoniously co-existing in a flat, abstract composition. Qian’s paintings are a multifaceted continuation of deformations or reformations that plays into a promise: what you see may or may not be what you get. Essentially, her economy of coloured forms takes on a subtle, dynamic illusion that idiomatically reflects our external reality.

SGA 沪申画廊 上海|学术文章|吴蔚:建构的视线 崇真艺客

宋昕 Song Xin, 水系列 1 Water series 1, 2019


From her paper cuts to her brushwork of interweaving lines and the interstice of textures and patterns, Song Xin's visual expression brims with a seemingly primitive but immaculately constructed aesthetic appeal. The artist’s "Wave" series, 2021, named after the Chinese character "水" water, comprises biomorphic portraits of the brain and can be seen as a stylistic nod to Cubism. As they simultaneously overlay and disrupt the composition's overall spatial consistency, these pieces are reminiscent of our human mind–– a tangled labyrinth of endless desires and melancholia. As Song intuitively and emotionally demonstrated in her installation "Extension", the versatility of paper transcends beyond its physical properties as a medium or material. For her, it is a vital component in her life and the locus of her artistic vision. Through paper, she can mould life to form at will.

SGA 沪申画廊 上海|学术文章|吴蔚:建构的视线 崇真艺客

张海君 Zhang Haijun, 人间颂 Song of the People, 2017


In Zhang Haijun's paintings, we can see his interest in the way images interact with our surrounding world. The unusualness captured in each composition reveals the artist’s fascination with a realm that extends beyond the canvas, and the relationship between colour and form. His visual language slides effortlessly between abstraction and figuration with influences from previous expressionist and constructivist periods. Each piece is emotionally charged, trailed in blinding yellows and burning collisions of crimson and orange, often resembling the physical phenomena of bodily outbursts and struggles. With a stream of gnarly, distorted lines, Zhang guides the audience onto an indescribable path of visual exploration.

SGA 沪申画廊 上海|学术文章|吴蔚:建构的视线 崇真艺客

「视线 Sight Lines」展览现场


The challenge with abstract art is that it can never be neatly categorised in general terms as a pure art form. For one, it is related to the experience of the real world. In this exhibition, abstraction does not circumscribe to an absolute void/nothingness where everything dissipates without a trace, it is featured as a dynamic art form, and quintessentially, a fervent existence.

文/ 吴 蔚

by Wu Wei

SGA 沪申画廊 上海|学术文章|吴蔚:建构的视线 崇真艺客
SGA 沪申画廊 上海|学术文章|吴蔚:建构的视线 崇真艺客


批评家、策展人。《艺术当代》杂志副主编,《公共艺术》杂志副主编。曾策划“Next Festival独立项目:中国当代影像展”、“李景湖:一天”、“贾蔼力:早安,世界!”、“上海惊奇:一场关于上海当代艺术的群展”、“漆澜:且共从容”、“步履不停:1995-2019年中国当代艺术的城市叙事”等当代艺术展览。策划出版“公共艺术研究丛书”。

Wu Wei is an art critic and curator. She is currently the associate editor of “Art China” magazine and “Public Art Journal”. Her previous curatorial projects include, “Next Festival”; “Li Jinghu: One Day in Dongguan”; “Jia Aili: Good Morning, World”; “Shanghai Surprise:  A Group Show on Contemporary Art in Shanghai”; “In No Hurry: Qi Lan Solo Exhibition” ; “A Turning Moment: Urban Narratives in Chinese Contemporary Art, 1995-2019”; and other notable contemporary art exhibitions. She is also the co-curator of a series of books on public art research(公共艺术研究丛书).

SGA 沪申画廊 上海|学术文章|吴蔚:建构的视线 崇真艺客

SGA 上海|正在展出 Current Exhibition

SGA 沪申画廊 上海|学术文章|吴蔚:建构的视线 崇真艺客


SGA 沪申画廊 上海|学术文章|吴蔚:建构的视线 崇真艺客

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