艺博会 | 天线空间参加ART021 （下篇）| 展位 W22

周思维多层次的笔触犹如夜雨：黑暗绝不是漆黑一片，而是无尽的叠加，形成朦胧——这只是印象派光影的记录，以及对它们相互依存关系的回忆。层层叠叠的单色组合成银河般的媒介。在这种媒介中，空间的距离感变得模糊，透视被抽离。建筑，亦或是称其为结构才更为准确，它脱离了重力，在弥漫的密度中悬浮和扭曲。蜂巢和酒瓶失去其结构的意义和物质性，成为一种象征、一种图腾、一种信息流，也可以说是一种集体记忆的模式。周思维利用源自遥远时代的熟悉表象，将其图像空间扩展到当下。

Zhou Siwei's many-layered brushwork is like night rain: The darkness is by no means pitch-black, but is endlessly superposed to form obscurity – it is simply a record of impressionist light and shadow and a recollection of their interdependency. The layered monochromes combine into a galaxy-like medium. In this medium, the sense of distance in space becomes blurred, the perspective is withdrawn, buildings – or more precisely structures – separate themselves from gravity and are levitated and distorted in the diffused density. The layered monochromes combine into a galaxy-like medium. In this medium, the sense of distance in space becomes blurred, the perspective is withdrawn, buildings – or more precisely structures – separate themselves from gravity and are levitated and distorted in the diffused density. The hive and the baijiu kettle lose their structural significance and materiality, instead, become a token, a totem, a stream of information or one could say, a pattern of collective memory. Zhou Siwei uses familiar representations deriving from those distant times to expand their pictorial spaces to the present.

周思维 Zhou Siwei

白酒 金发（梦之蓝） BaiJiu Blonde ( Dream Blue) , 2021

布面油彩 Oil color on canvas

160 x 130 cm

读研期间受到老师Laura Owens和Bruce Hainley的启发，Tara Walters将颜料和太平洋的海水混合进行作画，作为一种对火和强力的抗辩。这个过程让人想起 20 世纪 50 年代的行动画家Helen Frankenthaler。Walters的画面有一种梦幻感，这可能与她常用明亮的颜色去点染可爱的动植物和自然景观有关。不在画布上先刷底漆的“叛逆”使得柔和感浸染了画布，然后渗透到每个人的心中打造出超现实主义的幻象。在Walters自己的定义中，这些虚无缥缈、悬浮在画布内的图像是她的“预言”，通过视觉温和地提醒众人图像是心灵和精神的，而不是尘世的。通过创造通往意识层面的通道，Walters相信艺术能在某个瞬间赋予人们空间去安置相信形而上之物所需的疑虑。

Inspired by her teachers, artist Laura Owens and critic Bruce Hainley, Tara Walters blends paint with the water of the Pacific Ocean. This practice is reminiscent of 1950s action painters like Helen Frankenthaler, but relatively new to Walters as a defense against fire (especially the wildfire in LA), and the force it represented and implied. Tara Walters' paintings have a dreamlike quality that may be related to her tendency for bright colors to punctuate lovely flora and fauna, and natural landscapes too. The rebellion of utilizing unprimed canvases allows the softness and gentleness to saturate the canvas and then permeate everyone's mind, creating surrealistic visions. Walters informally refers to this misty and ethereal body of work as her "future-telling paintings," a gentle visual reminder that images are of the soul and spirit rather than of the earth. By building a gateway to the realm of consciousness, Walters believes that art can, in some moments, give space to place the doubts needed to believe in something intangible and metaphysical.

Tara Walters

Snowy Rainbow, 2022

平纹细布上水性涂料和太平洋海水

Water based paint and Pacific Ocean water on muslin

183 x 183 cm / 2 pieces

《有蚊香和海俪蔓汤姆猫巧克力的夏天》（2021）是王伊芙苓韬程经典的宣纸长卷创作。画面中蚊香的烟云袅袅升起，“徐喷以烟”仿佛中式古典动画中神兽妖灵显形作法营造梦境幻影，无意间与沈复的《童趣》相映成趣。在天真烂漫的童趣和想象力中，艺术家邻居的橘猫扑抓小猪花纹窗帘，正可谓好一出当代《西游记》——皴法赋予敦实毛绒的肉爪以动态和力量，画面定格在神兽撕破虚无缥缈幻影的那一瞬。海俪蔓汤姆猫巧克力是德国巧克力品牌Heilemann的一款产品，包装上会印刷可爱的猫咪图像并把巧克力做成猫舌头形状。王伊芙苓韬程在2020年圣诞节与奶牛猫结缘，黑白相间的颜色像是牛奶黑巧，在热爱猫咪的文艺行业此作实为经典猫奴之行。

Evelyn Taocheng Wang’s painting in hanging scroll format on paper,  A Summer with Mosquito Coil and Heinemann Tom Cat Chocolate, 2021, presents a dreamy illusion. It depicts a smoke cloud from a mosquito coil rising up, "gently spraying with smoke" like a supernatural creation from classical Chinese literature and animation. This scene unintentionally alludes to "Childlike Fun" Tongqu (童趣), a passage from “Six Records of a Floating Life”(Fu sheng liu ji浮生六记) by the Qing Dynasty writer Shen Fu(沈复). In the painting, the artist’s neighbor’s ginger cat pounces on curtains patterned with pigs, evoking a contemporary Journey to the West. In the winter of 2020, the artist adopted a new family member – a tuxedo cat. Its black and white fur mirrored the blend of dark chocolate and milk, adding another layer to her artistry. The title references “Heinemann Tom Cat Chocolate”, a product from a German chocolate brand. The packaging of Heinemann's is adorned with playful images of kittens, and the chocolate itself is whimsically shaped like a cat’s tongue. This love for cats, known as ailuromania, is a common thread in literature and art, and it seems Evelyn has not only embraced this sentiment but also carved out her own unique niche within it. The painting vividly captures the cat’s paw, soft yet substantial, rendered with dynamic cun-strokes that embody its strength. It’s a frozen moment in time, where the “beast” shatters the illusion of nothingness with a swift tear.

王伊芙苓韬程 Evelyn Taocheng Wang

有蚊香和海俪蔓汤姆猫巧克力的夏天 A Summer with Mosquito Coil and Heinemann Tom Cat Chocolate, 2021

纸上墨水，矿物颜料，铅笔，丙烯，纸

Ink, mineral color, pencil, acrylic, paper glued on paper

102 x 34.5 cm

在本雅明的语言论中，语言代表的是一种世界观，其功能就在于为精神存在提供显形的介质。尉洪磊将26个字母全部转化为字母“O”， 但却不局限于此，这个“O”可以是一个穿过假山石空隙的光斑，也可以是打水漂时在水面的涟漪，可以是句号、一个纯粹的圆、一块块可以重塑雕塑并堆砌建筑的零件 / 砖瓦。尉洪磊用一个多变、开放的符号体系来传达物的本质，于是，信息的交流和交换便成为了次要。

In the linguistic theory of Benjamin, language represents a perspective, and its function is to provide a medium for the manifestation of spiritual existence. Yu Honglei transforms all 26 letters of the English alphabet into the letter "O" but is not limited to it. The "O" can be a spot of light passing through the gap of crevices, or, the ripples when playing ducks and drakes. It can be imagined as a period, a pure circle, or even a piece of components/bricks that can be either reshaped into a sculpture or stacked into a building. Yu Honglei uses a varied and open system of symbols to convey the essence of things, thus, the exchange of information becomes fringe.

尉洪磊 Yu Honglei

26 个 O

红妍的作品着眼与生活的细微之处。《自在》（2022）的视角仿佛躺倒在茵茵山坡望向皓月夜空，却又如赤脚在池边草滩静看水平如镜。这种难以言说身处何地却又悠闲飘摇的状态贯穿于每一件作品中，梦境般的构图和色调给人冥想和沉思的空间与体验。人的存在也同时成为了一种游离态，可见体态的思绪飘散在风中，而不见形体的却在小心翼翼地倾倒鱼和水、聚精会神地观摩蜗牛在窗户上的行迹。很难说“自在”一词在红妍的画作中仅仅表达悠然自得的情景，很多时候反而如同她的创作般影影绰绰，“此在（dasein）”与“自性（Svabhava）”也同样适用在这个语境中，仿佛多个空间偶然交错才能真正“显形”。

Hongyan's works focus on the subtleties of life. The viewpoint of Feel at Ease (2022) suggests one is lying down on a mountainside looking at the moon in the night sky, yet it also seems to be barefoot on a grassy riverbank watching the moon's reflection on the water. This indescribable but relaxed state of being is present in every work of hers, and the dream-like hues and brushstrokes offer space and experience for meditation and contemplation. The presence of human beings has also become a kind of free state, while the thoughts of those with visible bodies are drifting in the wind; those with invisible forms are carefully transferring fish and water, and intently observing the snail's movement on the window. It is difficult to say that the word "at ease" in Hong Yan's paintings only expresses a scene of relaxation and contentment, but it is often as hazy as her creations - the terms dasein and Svabhava are also applicable in this context as if multiple spaces are accidentally intertwined to truly "manifest."

红妍 Hong Yan

自在 Feel at Ease, 2022

布面油彩 Oil on canvas

60 x 50 cm

图片致谢艺术家与天线空间