访谈｜汪立友的9个问题
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四月交易NO.10 双联画 / April transaction No. 10（Doublet）K：这次展览叫「资产阶级审慎魅力」你认为标题和你的作品有某种联系么？W：这次展览的名字来自于布努埃尔的同名电影，除了本身的情节剪接与叙事的编排，布努埃尔对电影中资产阶级的生存状态的表达以及对人物和物质等符号的把握，与我的作品中对于人物的神秘性、欲望的不确定性、物质的生活的思考和身份身体的特性，还是有着一定的契合。K：这次展览涵盖了你研究生时期的作品，鲁美油画系毕业的你会被认为是学院派，但你的作品里表现的却和学院派背道而驰，你怎么看待自己的作品和学院派的关系？W：我的创作实践是从本科三年级开始的，从最终的路径试探到阶段性的组画创作，经历了一个完整地从观念的探寻到技法的构建，再到系列作品的组建的过程。在这个过程中一次又一遍的思辨、审视、质疑自己所搭建的这条路。近些年随着观念艺术、当代艺术大行其道学院派也在注重学院派特点与技法训练的同时，不断让每个人探索艺术与观念的边界，而不是陷入到循环系统的传统学院派当中。虽然我接受了学院派的训练与教学，但也为我作品的表达的形式构成奠定了可能性，同时在老师与同门的不断引导鼓励中，通过不断地尝试，去寻找某些语言和自己共鸣的自我表达。K：你作品常常表现服饰的质感和细节，这种题材从哪里吸引到你？W：服饰作为人的“第二层皮肤”，与身体紧密接触，通过衣物可以感知微妙的身体的轮廓，它与身体有关，与自我有有关。在我的画面中，对于每一个元素都给予同等的关注，无论是身体的姿态、衣物的质感和褶皱、还是图案的细节。K：你作品里反复出现的章鱼、鞋这些元素，是隐喻么还是有其他含义？W：章鱼和鞋的符号是我对于个体身份的意义构建的象征，章鱼缠绕、吸附与柔弱的体态象征着性关系的暧昧与纠缠；鞋作为性别区分重要的符号无论是男性皮鞋与女性高跟鞋都是对于性别观看与凝视的表达。在我的作品中通过大量的如章鱼、鞋、服饰、空间符号的提炼与二度空间重组进行身份指向的探讨与意义的追问，形成一种符号二次编码与解码的画面解读。K：这次展览的作品从时间上，可以看到你画面中的颜色变得愈发鲜艳和明快，对此你是如何考虑？W：早期的作品中，我的兴趣点在通过笔触排列、堆积和走向去构建物象的局部，物体本身的含义被局部构图和笔触的秩序所消解，产生有意味的形式。随着主题观念与绘画语言构建的逐渐深入，画面中单纯的事物变的更加的具体。同时，高纯度、鲜艳、刺激的色彩也逐渐引入画面，通过这些带有所处时代、身份隐喻符号的颜色进行一层与一层的叠压，将荧光色作为底色或夹杂在其他颜色里进行编排和使用。厚重有序的笔触将这些元素有效的整合起来，从而使作品的指向性更加的鲜明，情感全面的释放。画面本身传达给大家的则是由绘画本质规律所带来的纯粹的高级的视觉刺激和冲动。K：你作品里的人物几乎是不露脸的，常常是以背影、遮挡等方式掩盖，对此你是如何安排的？W：在我的画面中注意力集中于纯粹的形式，用抽象的眼观对物体进行理想地切割，我放弃了对具体某个人物相貌的重塑，而去探寻广义上身份之下的表达。通过对画面的思考与经营，将物体、空间、颜色与身份的理解和平面性的处理联系起来。这些造型物体为“空间”提供了解释，从而使之扩展了形式方面的容量与深度。雅俗 / Elegance and vulgarityK：可以聊聊你的工作方式么，从一个想法到绘画，你如何处理信息，找到自己想要的？W：我对于时尚杂志刊物、服装海报、淘宝等网络平台的图片和生活随拍等素材进行大量的收集，将它们在电脑里存放，然后反复的进行查看，将部分图片中本身带有的视觉冲击一点点的褪去，标注与自己产生共鸣的图像碎片元素，如此便可以的从理性的思维进行思考，继而准确的把握这些素材所带来的信息和参考角度，在结合自己的情感和作品的指向去经营自己的画面，把更多的精力放在画面的更深层的思考当中。W：通过这次个展，也算是一个阶段的总结，作品从工作室被拿到空间里，置放在白色墙的展厅里进行呈现，在这个同时也会发现作品中有些好的东西或者有些问题也会显现出来，所以，近期还是想多一些沉淀与思考。接下来还是希望拿出一些时间去看书，学习更多的知识，投入更多的精力继续坚持做自己的创作。W：其实生活在当下的时代下，每个人都处于资本、权利、身份的多重视域的认知上，所以我的作品不仅是对当下我对拜金主义、性、消费主义、身份认知的追问也是每个处于这个时代之下每个人的自我观看与探索。衣着灯笼裙女子 / Women in lantern skirtsK: This exhibition is called "The Discreet Charm of the Bourgeoisie". Do you think the title has some connection with your work?W: The name of this exhibition comes from Bunuer's film which has the same name. In addition to its own plot editing and narrative arrangement, Bunuer's expression of the survival status of the bourgeoisie in the film, as well as his grasp of symbols such as characters and matter, there is still a certain correspondence with the mystery of characters, the uncertainty of desires, the contemplation of material life, and the characteristics of identity and body in my works.K: This exhibition covers your works from your graduate studies. Graduates from the Lu Mei Oil Painting Department will be considered as academicians, but your works are portrayed in opposition to the academic school. How do you view the relationship between your works and the academic school?W: My creative practice began in my third year of undergraduate studies, from exploring the final path to creating phased group paintings, and went through a complete process from exploring concepts to constructing techniques, and then to constructing a series of works. In this process, I repeatedly ponder, examine, and question the path I have built. In recent years, with the popularity of conceptual art and contemporary art, the academic school has also focused on the characteristics and technical training of the academic school, constantly allowing everyone to explore the boundaries between art and concepts, rather than falling into the traditional academic school of a cyclical system. Although I have received academic training and teaching, it has also laid the possibility for the form of expression in my works. At the same time, under the continuous guidance and encouragement of teachers and colleagues, I am constantly trying to find self-expression that resonates with certain languages and myself.
K: Your works often express the texture and details of clothing. Where did this theme attract you?W: Clothing, as the "second skin" of a person, is in close contact with the body. Through clothing, one can perceive the subtle contours of the body, which are related to the body and the self. In my images, equal attention is given to every element, whether it is the posture of the body, the texture and wrinkles of the clothing, or the details of the pattern.K: Are the elements of octopus and shoes that repeatedly appear in your works metaphorical or have other meanings?W: The symbols of octopus and shoes are symbols that I construct for the meaning of individual identity, and the entanglement, adsorption, and tenderness of octopuses symbolize the ambiguity and entanglement of sexual relationships; Shoes, as an important symbol for gender distinction, are both expressions of gender observation and gaze, whether they are male leather shoes or female high heels. In my works, I explore identity orientation and ask for meaning through a large number of abstractions of spatial symbols such as octopus, shoes, clothing, and two-dimensional spatial reorganization, forming a visual interpretation of symbol secondary encoding and decoding.K: From the perspective of time, the works in this exhibition can be seen that the colors in your images have become increasingly bright and lively. How do you consider this?W: In my early works, my interest was in constructing parts of objects through stroke arrangement, stacking, and direction. The meaning of the objects themselves was digested by the local composition and stroke order, resulting in meaningful forms. With the gradual deepening of theme concepts and painting language construction, the simple things in the picture become more specific. At the same time, high-purity, bright, and stimulating colors have gradually been introduced into the screen, and these colors with metaphorical symbols of their era and identity are stacked layer by layer, using fluorescent colors as the background color or mixed with other colors for arrangement and use. The thick and orderly brushstrokes effectively integrate these elements, making the directionality of the work more distinct and releasing emotions comprehensively. The picture itself conveys to everyone the pure and advanced visual stimuli and impulses brought about by the essential laws of painting.K: How do you arrange for the characters in your works to be almost invisible and often covered up in the form of silhouettes, occlusion, etc?W: In my paintings, my attention is focused on pure form, using an abstract perspective to idealize objects. I give up reshaping the appearance of a specific character and instead explore the expression of identity in a broad sense. By thinking and managing images, we can connect the understanding of objects, space, color, and identity with the handling of flatness. These sculpted objects provide an explanation for 'space', thereby expanding its formal capacity and depth.K: Can you talk about your way for working , from an idea to painting, how do you process information and find what you want?W: I collect a large amount of images and life videos from fashion magazines, clothing posters, Taobao and other online platforms, store them on my computer, and then repeatedly review them. I gradually remove the visual impact inherent in some of the images and annotate them with image fragments that resonate with me, so that I can think rationally, Then, accurately grasp the information and reference angles brought by these materials, and combine their emotions and works to manage their own images, putting more energy into deeper thinking of the images.K: What is your plan for the upcoming creative work?W: Through this solo exhibition, it can also be considered as a summary of the stage. The work is taken from the studio and presented in a white walled exhibition hall. At the same time, some good things or problems in the work will also be revealed. Therefore, in the near future, we still want to have more sedimentation and reflection. Next, I still hope to allocate some time to reading, learning more knowledge, and investing more energy to continue my creative work.K: How do you view the connection between your work and yourself?W: In fact, living in the current era, everyone is in the multiple perspectives of capital, rights, and identity. Therefore, my works not only question my current understanding of materialism, sexuality, consumerism, and identity, but also the self observation and exploration of everyone in this era.Wang Liyou's solo exhibition "The Discreet Charm of the Bourgeoisie " art video
资产阶级的审慎魅力
The Discreet Charm of the Bourgeoisie
Wang Liyou's solo exhibitionNo. 11, Qiyun Road Economic Development Zone, Hefei
汪立友，1998年生于辽宁省绥中县，2019年毕业于鲁迅美术学院油画系，获学士学位，2022年毕业于鲁迅美术学院油画系，获硕士学位，现生活和工作于北京。参与的展览：“On Flight飞行中：青年艺术家特展”，油罐艺术公园,上海，中国，2022；“丛生—第四届两岸艺术院校优秀作品联展”，艺创小镇，杭州，中国，2022；“艺术新星首飞毕业展，TX淮海 BIP.GALLERY”,上海，中国，2022；“Link2021 东北当代艺术创作计划”，M56美术馆，沈阳，中国，2021；“破冰艺术计划”，；红梅文创园发酵艺术中心，沈阳，中国，2020；“H164-未来之城”，上海，满天星艺术中心，中国，2020；“初现—鲁迅美术学院研究生手稿展”，鲁迅美术学院美术馆，沈阳，中国，2019；“第八届大艺博”，广州，琶洲南丰国际会展中心，中国，2019。Wang Liyou, born in Suizhong County, Liaoning Province in 1998, graduated from the Oil Painting Department of Lu Xun Academy of Fine Arts in 2019 with a bachelor's degree, graduated from the Oil Painting Department of Lu Xun Academy of Fine Arts in 2022 with a master's degree, and now lives and works in Beijing.His recent exhibitions include "On Flight: Special Exhibition of Young Artists", Oil Tank Art Park, Shanghai, China, 2022; "Congsheng - the 4th Joint Exhibition of Excellent Works of Cross-Strait Art Schools", Art Innovation Town, Hangzhou, China, 2022; "Graduation exhibition of the first flight of art stars, TX Huaihai BIP. GALLERY", Shanghai, China, 2022; "Link2021 Northeast Contemporary Art Creation Plan", M56 Art Museum, Shenyang, China, 2021; "Ice Breaking Art Program",; Fermentation Art Center of Hongmei Cultural and Creative Park, Shenyang, China, 2020; "H164 City of the Future", Shanghai, Mantianxing Art Center, China, 2020; "Emergence - Postgraduate manuscript exhibition of Lu Xun Academy of Fine Arts", Art Museum of Lu Xun Academy of Fine Arts, Shenyang, China, 2019; "The 8th Grand Art Expo", Guangzhou, Pazhou Nanfeng International Convention and Exhibition Center, China, 2019.
关于可以画廊 / About KeYi Gallery可以画廊 KeYi Gallery 是一间成立于2019年的当代新星空间，旨在为艺术家打造一个开放性的具有学术实验性的平台，致力推广多元独特的展览项目和艺术家作品，挖掘和培育年轻艺术家。可以画廊前身以私人收藏为主，20年间不断收藏那些具有一定学术价值的当代作品，并始终关注艺术当下及未来的发展趋势。
KeYi Gallery is a young contemporary art space established in 2019. It aims to create an open and experimental platform for artists and dedicates to promoting diverse unique art programs and works of art, exploring and developing young artists. KeYi Gallery gave priority to private collections previously and has been insisting on collecting contemporary artworks with high academic value while concentrating on art trends in the art world.
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