访谈｜张珂的10个问题
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◆张珂-Z
◆可以画廊-K
K：非常欢迎张珂来到可以画廊合肥空间呈现本次个展，这次展览主题为《谎言是一种无法被抚平的褶皱》，对你有什么特殊意义吗？Z：这是我第一次正式的个展，感谢可以画廊的邀请，这次展出的作品基本都是我在一年间创作的，是这一个阶段的集中表达，展览的主题“谎言是一种无法被抚平的褶皱”是我其中一件作品的题目，是一句牢骚，褶皱常让我感到焦虑，小时候夜间睡觉体温升高的时候会常做一种梦：在布满褶皱的房间走动，堆积的地板淹没我的脚面，每每费劲拔出，下一步又踩进某个夹缝；谎言则是我常在创作中设置的情境，谎言意味着真相犹可探寻，是求知真相的种种阻碍和可能。谎言是一种无法被抚平的褶皱 / A lie is a crease that can't be smoothed
2023
布面油画 / Oil on canvas
120 x 180cm
K：你在自述中谈到在营造错觉方面受到了定格动画艺术家史云梅耶的影响，我们从你的画面中也看到了一种巧妙的“非真实”的“荒诞”空间，结合具体作品谈谈其中的布局构思？Z：叙事诡计是我在构思一件作品中最常用的手段，核心在于找到视觉相似的“物”彼此扮演和模仿并露出马脚，这是从定格动画里来的，举个例子可能更好说明，定格动画里的河流可以用切割成水波形状的玻璃或者是保鲜膜制作，抓住了水：反光、透明和流动的特点，但作为观众，我们看看就知道，这是玻璃，这是保鲜膜，因为我们对此物质很熟悉，但在动画艺术家的技巧下，我们愿意相信这是水，这种“有意识的主动相信”是我很感兴趣的，最后作品正是观众和创作者共同完成的完美诡计。我这次作品中诡计的设置比较明显的是《弓箭手乐章》和《飨宴》这两幅作品，视觉相似的弓箭和的竖琴，面条和植物的藤蔓，或者是更隐晦的《谎言》中的晾衣架和吊灯之间的形似和错位，“荒诞”和“非真实”正是从这种都说得通又都说不通的逻辑中来，至于相信哪个方向、怎么完成则托付给观众。弓箭手乐章 / Archer's movement
2023
布面油画 / Oil on canvas
100 x 80cm
飨宴 / Banquet
2022
布面油画 / Oil on canvas
30 x 40cm
K：对于你的创作中运用了大量的植物元素，对此是如何考量的呢？最初是如何筛选这些语言符号的？Z：植物的作用实际上像是马赛克，永远在遮挡着什么，本身不主动承担任何隐喻，同时植物由绿叶和枯叶，是正在生长也是正在衰败，一种和谐的矛盾共生体，被植物掩藏住的部分是一个未定的真相。K：我们看到你在画面中将有反差感的元素糅合在一起，对于这种“稳定”和“不安”的反差表达有什么特殊意义？结合《园丁》系列作品说说。
Z：相斥质感的融合是我对于矛盾的“共生体”具象化处理；《园丁3》的画面里是一件天鹅花瓶的背部，这件花瓶实际上是一种非常工业流水线的小商品，质感上更像是伪装成瓷器的劣质塑料，在任何电商平台都可以轻易买到，而天鹅是一种有美好象征意义的形象，是珍贵的，我画面中常出现这种风格化日常制品，粗制滥造但又由于其形象寓意的美好而形成这种微妙的珍贵感，物像所象征的伟大与永恒的寄思在此刻被颠覆。园丁 3 / Gardener 3
2023
布面油画 / Oil on canvas
40 x 60cm
K：注意到本次展览有部分新作在色彩方面有所变化，尤其是海报图《飨宴3》，结合这幅作品谈谈是出于何种契机使用了如此不同以往的表达语言呢？Z：这件作品应该是我为数不多尝试以红色为主基调的作品，我在探索一种更自我的色调感，更晦暗又鲜艳，这需要更多的根植于绘画基础的尝试；当然也是为了作品内核服务，红色也是所有颜色中看起来最危险的颜色，用红色调暗喻隐藏的危险再合适不过。飨宴 3 / Banquet 3
2023
布面油画 / Oil on canvas
30 x 40cm
K：你在日常生活中会经常关注一些电影和书籍，从中汲取的对你的创作来说最重要的元素是什么？道路是相信、塑造、质疑、遗弃，彼此杂乱铺陈。我在作品中制造对立、矛盾，矛盾的双方都是自我的碎片，呈现的作品则是这种彼此相对的沉默尖嚎的集合，展示多种认知颠覆的可能性。就比如《德米安》对于该隐的论述，圣经课老师讲述该隐和亚伯的篇章，说该隐头上的记号，是罪的标记，但在德米安的说法里，该隐额头的记号，不是罪的证明，事实可能是该隐比较难以捉摸，同时又比他人有胆量和魄力，让人敬畏。这可能才是他‘印记’的秘密。德米安的引导下，没有提供事实，但是让辛克莱看到了另外的可能性，一种跟之前所看到的完全不同的可能，电影和书籍实际上也没有解决什么问题，但是提供了方向，或许验证办法就是不停在此道路上行走，谁知道呢。K：了解到你出生于安徽，现在工作生活在上海，之前求学从广州美院到伦敦皇家艺术学院，这期间的地域转变对你创作最大的影响是什么？有什么不同的感受？Z：地域的转变其实影响不大，但去过不同的地方会更容易观察其中不同，现在更在意的是创作中的个人历史感。K：你是否认同自身的个人状态和作品气质比较相符？你在画面中传递出的女性特有的情绪和生命力，以及充满着“矛盾”“对立”“怀疑”，你认为这些对你来说是很珍贵的属性吗？Z：认同，我没法做出超过我认知以外的尝试。“矛盾”“对立”“怀疑”对我很重要，人总会在某些时刻有失偏颇，认知是在这种反复的自我辩驳中确立的。不过我很好奇，为什么男性艺术家没有“男性特有的xxx”。园丁 2 / Gardener 2
2023
布面油画 / Oil on canvas
40 x 60cm
K：你认为自己目前的创作较过去最大的改变或突破是什么？接下来创作有什么新的想法的吗？会尝试更多大尺幅的作品吗？Z：最近回到一些更绘画的，基础的问题上，譬如色调，构成和松弛度，作品的表达比过去少了些杂音。接下来一会在每一张解决更多“取舍”的问题，大尺幅也会尝试，这也是一类有关取舍的的绘画问题。石榴的颜色 / Pomegranate color 2023
布面油画 / Oil on canvas
30 x 40cm
伤痕累累 / Riddled with Scars
2022
木板油画 / Oil on wood
60 x 80cm
Z：赫尔曼·黑塞的《德米安》、《荒原狼》、《在轮下》和《悉达多》，还有最近很喜欢的网络小说《寄生之子》。
K: We welcome Zhang Ke to KeYiGallery's Hefei space for this solo exhibition. The theme of this exhibition is 'A Lie is a Crease that Cannot be Smoothed'. Does this theme hold any special significance for you?
Z: This is my first formal solo exhibition, and I'm grateful for KeYi Gallery's invitation. The artworks on display are mainly created over a year, representing a concentrated expression of this phase. The exhibition's theme, 'A Lie is a Crease that Cannot be Smoothed,' is the title of one of my artworks—a lamentation. Wrinkles often make me feel anxious. As a child, I would have a recurring dream during nights when my body temperature rose. I would walk into a room covered in wrinkles, and the piled-up floor would submerge my feet. It was a struggle to pull my foot out, only to step into another crevice with the next step. Lies, however, are scenarios I often set in my creative process. Lies imply that the truth can still be sought, representing various obstacles and possibilities in the quest for knowledge and truth.
K: In your self-description, you mentioned being influenced by stop-motion artist Shi Yunmei in creating illusions. We can also see in your artworks a clever sense of 'unreal' and 'absurd' space. Could you discuss the layout and design ideas behind specific works in this context?
Z: Narrative trickery is the technique I most frequently use when conceptualising a painting. The core idea is to find visually similar 'objects' that impersonate and imitate each other while revealing their true nature. This technique draws inspiration from stop-motion animation. To illustrate, a river can be created in stop-motion animation using glass cut into wave-like shapes or plastic wrap. It captures the essence of water—reflection, transparency, and fluidity. However, as viewers, we can easily recognise that it's glass or plastic wrap because we are familiar with these materials. But through the skill of the animation artist, we are willing to believe it is water. This 'conscious and active belief' is something I find intriguing. The final artwork is a perfect deception that the audience and the artist co-created.
In my recent works, the deception is most apparent in pieces like 'The Archer's Movement' and 'Feast.' Here, you can see visually similar elements like the bow, harp, noodles, and plant vines. There are also more subtle examples, like the resemblance and misplacement between the clothesline and the chandelier in 'The Lie.' The 'absurd' and 'unreal' aspects arise from this logic that simultaneously makes sense and doesn't. As for which direction to believe and how to interpret it, that's left to the viewers.
K: The use of botanical elements plays a significant role in your artwork. How did you initially consider and select these visual symbols?
Z: The role of plants in my work is like a mosaic, constantly obscuring something. They don't inherently carry any symbolic meaning. Meanwhile, plants consist of green leaves and withered ones; they represent growth and decay, a harmonious contradiction. The concealed part beneath the plants holds an undefined truth.
K: We saw that you blend elements in your artworks that create a sense of contrast. What special significance does this contrast between 'stability' and 'instability' hold for you, especially in the context of the 'The Gardener' series?
Z: The fusion of contrasting textures is my concretely representing 'symbiosis' within contradictions. In the painting 'The Gardener 3,' you see the back of a swan-shaped vase. This vase is a very industrial, mass-produced commodity, with a texture that resembles low-quality plastic masquerading as porcelain. It can be easily found on any e-commerce platform. On the other hand, a swan is an image with beautiful symbolic meaning, something precious. In my artworks, I often feature such stylised everyday products—crudely made yet acquiring a subtle sense of preciousness due to the beauty associated with their symbolism. The grandeur and eternity symbolised by the object are subverted at this moment.
K: We have noticed that some of the new works in this exhibition have changed colour, especially in the poster image 'Feast 3.' Could you tell us what prompted you to use such a different expressive language from your previous works, especially in the context of this particular artwork?
Z: This artwork is one of the few where I experimented with red as the primary tone. I was exploring a more personal sense of colour, which is both obscure and vivid, requiring more experimentation rooted in painting fundamentals. Of course, it also serves the core of the artwork. Red is, after all, the most dangerous-looking colour of all. Using red to darken signifies the hidden danger quite appropriately."
K: You often pay attention to movies and books in your daily life. What are the most essential elements you draw from them for your creative process?
Z: The path of self-discovery is indeed challenging, haha.
It's a journey of belief, shaping, questioning, and abandonment, all tangled together. In my artworks, I create of opposition and contradiction. Both sides of these contradictions represent fragments of the self. The resulting paintings become a collection of these relative silences and outcries, showcasing multiple possibilities for overturning perceptions.
Take, for example, the discussion of Cain in "Demian." In the Bible class, the teacher discusses the mark on Cain's forehead as a symbol of sin. However, in Demian's interpretation, this mark is not evidence of guilt. Instead, it suggests that Cain is elusive, possessing the courage and audacity that command respect. This might be the secret behind his "mark." Under Demian's guidance, no concrete facts are provided, but Sinclair is exposed to alternative possibilities entirely different from what he had seen before. Movies and books may not provide solutions, but they offer directions. Perhaps the way to find confirmation is to continue walking on this path of exploration—who knows?
K: Knowing that you were born in Anhui and now work and live in Shanghai, with your previous studies taking you from the Guangzhou Academy of Fine Arts to the Royal College of Art in London, what was the most significant impact of these geographical transitions on your creation? Did you have different experiences in each place?
Z: The geographical transitions didn't have a significant impact, but travelling to different places made it easier to observe the differences. What matters more now is the sense of personal history in my creation.
K: Do you agree that your state fits with the temperament of your artworks? Do you consider the emotions and vitality specific to women, as well as the elements of ‘contradiction,’ ‘opposition,’ and "doubt" that you convey in your paintings, to be precious attributes for you?
Z: I agree. I cannot make attempts beyond my understanding. ‘Contradiction,’ ‘opposition,’ and ‘doubt’ are essential to me. People tend to have biases at certain moments, and cognition is established through this repeated self-debate. However, I'm curious, why don't male artists have "male-specific xxx"?
K: What do you think is the most significant change or breakthrough in your current work compared to the past? Do you have any new ideas for your upcoming creations? Will you be attempting more large-scale works?
Z: Lately, I have been revisiting some more fundamental aspects of painting, such as colour tones, composition, and looseness. The expression in my works has become less cluttered compared to the past. In the future, I will focus more on addressing the issues of ‘choosing’ in each piece, and I will also explore large-scale works, which also involve a different set of choices in painting.
K: Can you share the books that moved you recently?
Z: Hermann Hesse's ‘Demian,’ ‘Steppenwolf,’ ‘Beneath the Wheel,’ and ‘Siddhartha,’ and a recent favourite web novel, "Parasite Child."
张珂，1996年出生于安徽淮北，2018年学士毕业于广州美术学院，2021年硕士毕业于英国皇家艺术学院，现工作生活于上海。张珂的作品以温馨和谐的表面与不安的内里的反差为基本来表达对于“稳定”和“常识”的怀疑，诸如幻觉与现实、生物和静物的糅合与对立。她将传统物象拆解、重构、并置，利用传统视觉元素本身所持有的原始性质营造错觉，创造出隐喻性的荒诞空间。她的作品曾被X美术馆，Longlati Foundation等机构收藏。她参与的主要展览包括双人联展:“游客中心”，想象力学实验室，(杭州，2022);群展包括:“具体绘画”，盒子美术馆，(佛山，2023);“一个干净明亮的地方”， Yuan Museum，(北京，2022);“USB 多端口链接展第二站”，Func Gallery，(上海，2021);“USB 多端口链接展第一站”，没顶画廊，(上海，2021);“闲人出差vacation”，Vacancy Gallery(上海,2021);“Final Not Over Again”，Unit 1 Gallery，(伦敦，2021)等。Zhang Ke, born in Huaibei, Anhui in 1996, graduated from Guangzhou Academy of Fine Arts in 2018 with a bachelor's degree, and from the Royal Academy of Fine Arts in 2021 with a master's degree. Now she lives and works in Shanghai. Zhang Ke's works explore the miracle of personal perspective. She analogizes artistic creation to alchemy, extracts concepts from elements and reorganizes them, uses the original nature of elements to create illusion, and creates a series of paintings with absurd atmosphere. Her works have been collected by X museum, Longlati Foundation and other institutions.
The main exhibitions she has participated in include a two-person group show: "Tourist Center", Imagokinetics, (Hangzhou, 2022); Her group exhibitions include："ConcRETe PAINTING", Boxes Art Museum, (Foshan，2023); " A Clean, Well-lighted Place", Yuan Museum, (Beijing, 2022); "The Second Station of USB Multiport Link Exhibition", Func Gallery, (Shanghai, 2021); "The first stop of USB Multiport Link Exhibition", Madein Gallery, (Shanghai, 2021); "Vacation by idle people", Vacancy Gallery, (Shanghai, 2021); "Final Not Over Again"，Unit 1 Gallery, (London, 2021); "Room Theater", OCAT Box Space Happy Coast Exhibition Area, (Shenzhen, 2021)，etc.
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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