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展览访谈 Artist Interview｜对话艺术家郭亚冠 Talk With Guo Yaguan

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P = PVG ART 芳草地画廊

A = Artist Guo Yaguan 艺术家郭亚冠

P：您的艺术风格非常丰富而吸引人。请问您是如何开启您的艺术生涯的？又是如何选择您的艺术风格的呢？

Your artistic style is rich and attractive. Could you please tell us when you started your artistic career and how you developed your artistic language?

Part.1

与绘画的相遇

Approaching Painting

A：画画对我来说是一个巧合，我上学的时候很调皮，逃课的时候不知道去哪，就去学了画画。

Painting for me was almost a coincidence. I used to be a naughty boy at school, and I used to skip classes very often. I didn't know where to go so I started studying painting.

我的童年一直是处于不断搬家的状态，出生在吉林，之后搬到山东...搬过很多次家，这可能也是当时社会的一个普遍现象。居住环境的不断转变埋下了一颗“种子”，从而对很多事物都有一种稍纵即逝的感觉，在我看来一切事物并不恒久、稳定，充满了不确定性。每到一个新的生活环境，都会认识一些人，过了不久就离开，再到下一个地方，认识熟悉一些人之后又离开。这些人，生病的去世的消失的…，各种各样的情况都有。

My childhood was characterized by constant moving: I was born in Jilin, then we moved to Shandong. I experienced different places but it used to be very common in China at that time. This constant change of living environment laid the ground for the awareness about the transient and fleeting character of things. I had the feeling that many things were unstable. I used to get to a new place and leave again soon after: I just had the chance to get familiar with local people that it was time to leave again. Moreover, many people that I got to know in different environments died or got sick.

展览访谈 Artist Interview｜对话艺术家郭亚冠 Talk With Guo Yaguan 芳草地画廊崇真艺客

△ 细节 Details

△ 郭旧冠 2023-躺着的女人 2012

Guo Jiuguan 2023-Lying Woman 2012

布面油画 Oil on canvas，150 × 150 cm，2023

直到有一次我去了麦积山石窟，极为触动。我原本喜欢光鲜亮丽的色彩，但是去了麦积山以后，看到石窟里的佛像：它们的面部和身体很多地方随着时间变化出现脱落，造像上也受到不同程度的破坏，是时间和人为留下的痕迹。麦积山石窟里也有很多被修复过的雕像，它们与修复之前相比失去了很多东西，不是在造型上，而是在感觉上。我感受到时间的痕迹，这种痕迹更让我回味，也更发人深省，渐渐意识到这种痕迹是时间赋予物体本身的一种重量感。

Once I went to Maijishan Grottoes and for me it was a very touching moment: I used to love bright and fresh colors, but I had the chance to contemplate the Buddha’s statues at Maijishan. Some parts of the statues were falling off because of the passing of time and some of the sculptures also were damaged. Sculptures and statues were carrying the traces of time and of human action. Of course, the restored statues in comparison with the older ones lost some elements in terms of taste and atmosphere. The traces of time are very intriguing and thought- provoking: I realized that they bestow these masterpieces with a sense of prestige and authority.

Part.2

创作的核心

Creative Core

A：从那时开始，我就想要把这种时间的痕迹留在画面上。从麦积山石窟回来后我画了好多人物，想把佛像上消逝的痕迹带入到人像上。在物的概念里，人跟石窟里的塑像传达着相似的感觉。虽然人不会像雕像一样表面脱落，但是人的气息会随着时间而变化，我尽可能的去捕捉时间流逝于物体表象所产生的感觉和空间中的氛围，这也成了我观察和表现事物的核心动力。

I immediately became aware that I had to represent the traces of time on the canvas. Once I came back from the grottoes, I started to make some paintings revolving around human figures which were characterized by the same “traces of transience” that I found in the Buddha’s statues. Human figures and Buddha’s statues convey a similar feeling, even though human skin doesn’t fall off like statues’ surface. I try my best to capture the feeling of the passing of time visible on the material surface and on the spatial atmosphere. This became the fundamental drive of observation and expression of things around me.

△ 黄泉路上之孔波妻女

“On the Way to Yellow Spring” series of

Kongbo's wife and daughter

布面丙烯 Acrylic on canvas

350 × 205 cm，2017

△ 黄泉路上之刘哥

“On the Way to Yellow Spring” series of Brother Liu

布面丙烯、油画棒、红线、白18K金

Acrylic on canvas, Oil pastel, red line, 18K white gold

299 × 260 cm，2019

我画了很多的题材，例如《黄泉路上》这个系列，画了很多身边去世的人，我统计到目前为止大概有七十多个人，每年还会有增加，所以这个系列大概会画一辈子。这种题材在传统的观念上还是比较排斥的，但我会一直做下去，我觉得人需要直接面对一些回避不了的问题，当我们都害怕它的时候，跟它有关的一些美好都会消失。前年，我给我的狗做了安乐，生者对于死者一定要有最基本的尊重，这种尊重更多来源于如何面对，以及赋予它的仪式感。

I painted different subject matters: for example, in the series “On the Way to Yellow Spring”, I depicted people around me who died. I painted almost 70 people so far, but this is a work in progress and every year I can add some more characters. In Chinese traditional thinking, these themes are not well looked upon, however I continued to work on this as I think that people need to face things that cannot be avoided. When we are afraid of something, all the beauty and the respect related to it will gradually disappear. A couple of years ago I did the pet euthanasia for my dog: living people are expected to show respect for the dead, this respect stems from how you face death and from the sense of rituality you bestow it with.

《黄泉路上》系列作品 © 郭亚冠

“On the Way to Yellow Spring” Series © Guo Yaguan

P：您刚刚提到的仪式感很有意思，您作品中有中国大鼓和长条案这样对外的/宗教性的仪式感，也有您工作室里植物的私密的/日常的仪式感，在我们这次的展览里都有体现，您能展开讲讲吗？

You have just mentioned this concept of rituality and this is very interesting: in some of your works there is this quasi-religious rituality: it can be traced in Chinese drums, long traditional tables, and also in private and daily rituals related to the plants in your studio. They are all reflected in our exhibition. Could you further comment on this?

A：我之前有一个系列作品是画了四十九天的洋葱，契机是我捡了一盆长得很茂盛的洋葱，我每天画一张，连续画了四十九天没有间断过，四十九天成了它的自然周期。我没有给它浇水，它慢慢的发黄，直到一点绿色都没有，完全枯萎掉，最后连花盆里的水也没有了。这个系列呈现的画面像延时摄影一样，最后就消失掉了，洋葱的最后消失赋予它一种仪式感。我有很多作品都和“七”有关，在意一些数字，包括作品的尺寸、题目、系列、数量。

In the past, I worked on a series revolving around onions for 49 days. The turning point of that series of works came from this plate of onion which I grew very well: I would make a painting every day, for 49 days, as this is the time an onion can naturally be kept for. Without water, it would slowly turn yellow and wither in the end. The visual effect of some of the final paintings looked like a time-lapse photography: the representation of the progressive disappearance of the onion gives to the work a sense of rituality. Moreover, many of my paintings have something to do with the number 7. I care about numbers, including those related to dimensions and titles of the works.

49天的洋葱系列之26.27.32 © 郭亚冠

49 days of onion series 26.27.32 © Guo Yaguan

在我看来生活中很多时候都需要一种仪式，这种仪式不是宗教里面的。比如我们随手拿起一个物体，在某个角度它忽然就产生了一种仪式感，包括此时此刻周围环境中每个元素相互联结所产生的网络，这会让那个物体超越它本身，形成另外一种东西。这就是仪式所具备的条件：一个恰到好处的点，多了少了都不对。

I think that rituality is a recurrent element in life: however, the notion of rituality is not necessarily related to religion. Any object you pick up casually from a certain perspective emanates a sense of rituality established by the interconnection with all the elements of the surrounding space in that specific frame of time. This sense of rituality makes things transcending themselves, thus turning them into something else. This is the premise of rituality: it needs to be achieved at the right point in a balanced way.

艺术家工作室 © 郭亚冠

Artist's studio © Guo Yaguan

在某个瞬间，出现了一个窗口，让你透过这个窗口去感受另外一个维度，这就具有一定仪式性了。不是说每一个瞬间都有这种感觉，它只有在某个特定的时间、特定的状态里才会产生。有时候和宗教很像，在特定的时间节点，很多元素杂糅在一起时，刚好可以打开这个窗口。

Imagine an open window to grasp another perception of things: this is exactly a form of rituality. This specific condition cannot be achieved anytime, just under specific circumstances. Like religion, many different factors contribute to the opening of this window and to the achievement of this specific transcendent condition.

这次展览的作品，核心也是时间带来的重量感和痕迹。创作时间是疫情开放后，画面蔓延的感觉像是被病毒侵蚀过，也有一种被破坏被抹去的痕迹、自然的野蛮生长的痕迹等等，它们是审视自身过往所形成的效果。

In the series of works presented in this exhibition, traces of time play a fundamental role. The works were created during the opening right after the closure brought about by pandemic, therefore, paintings display images that can suggest virus attack, disruption and natural wild growth of organic elements. These works represent the visual effect of painting that I examined before.

△ 郭旧冠 2023-鲜花与火焰 2015

Guo Jiuguan 2023-Flowers and Flames 2015

布面油画 Oil on canvas，210 × 210 cm，2023

P：所以肯定也有时代的痕迹，对吧？

So your works carry traces of the passing of time?

A：对，我之前是一个一直做加法的人，很多画面都画得很满很丰富，从今年开始我尝试做减法，之前特别长的头发都给剪掉了。这次展出的作品也是一个减的过程，一个模糊不清、又相对简单的画面。

Yes. Before, I used to have the tendency to add visual elements and my paintings used to be very full. This year I started to focus on subtraction: I even cut my hair. These works displayed at the exhibition are the result of a subtraction process, with a relatively simple painterly composition and the combination of blurred and unclear images.

P：您是怎么选择您的视觉表现形式的？您的灵感主要从哪里来呢？

How do you select your visual repertoire and where does your inspiration come from?

A：我感觉很多时候“灵感”是一个突然间闪现、不切实际的东西，我的脑袋里每天装满了天马行空的想法，很多惊喜，但也很快就忘记了，我不知道这些算不算灵感，可能只有把某个想法实践了以后，它会有一种灵感的属性。

I believe that inspiration is often a very sudden and unpractical concept. Every day my brain is full of new ideas, sometimes very surprising. They can also be easily forgotten. Just when an idea has a practical implementation, then it can be considered a form of inspiration.

艺术家工作室 © 郭亚冠

Artist's studio © Guo Yaguan

有时候想到很精彩的地方，我也觉得需要记录一下，但是我记录的很少，特别好的想法是不需要记下来的，那段时间它会一直反复地出现在我的脑海里。所谓的“灵感”，很多是一种“错误”的逻辑产生的或者说是胡思乱想的结果。因为很多现实因素，这些想法我能做出来的有限，这也造成了我的作品什么类型的都有，有抽象的、具象的、几何的、不确定形式的......

Sometimes I have brilliant ideas and I would like to write them down but, in the end, I don’t do it often. A very good idea will stay in my brain for many days, so there is actually no need to write it down. It can be said that I experience many of these sudden inspirations as result of random thoughts. However, also because of practical limitations, sometimes all these ideas cannot be implemented. This laid the ground for my works to be characterized by a wide range of multifaceted characteristics spanning abstract and geometric elements, unstable forms and figurative images.

很多人的工作方式是把“我”塑造成标准的、固定的模式，从市场角度考虑是比较可控的。我更多想做的是把“我”给抛除掉，“自我”是当代艺术的一个核心观点，所谓个人主义，而在中国佛家或者传统观念里面，更多是“无我”。

Many artworks revolve around the self as creative standard and fixed starting point, and this is strategic from the point of view of the market. However, what I want to achieve is a progressive dissolution of the self: the focus on the self is a core concept of contemporary art which is related to individualism, however in Chinese Taoism and traditional thinking the concept of selflessness is much more important.

德国艺术家里希特（Gerhard Richter），我有朋友认为他在市场上很成功，但是他从未找到“自我”。后来我看了里希特各个系列的作品，我觉得他做到了“无我”，每一个系列都按照他觉得最合适的形式去表现，而且尽可能做到极致。一旦达到完美，他就会更换不同的表现形式，从模糊的照片，到几何形体的色块，还有抽象的…，不同的工作方法决定了他不同类型的作品。

Once a friend of mine, talking about the German artist Gerard Richter, said that even though from a market point of view he was very successful, however he never achieved the focus on the self. Later on, I had the chance to closely look at every work of his series and I realized that he actually achieved a form of selflessness. In each series he adopted what he believed it was the most appropriate expressive form: once he reached perfection, he would change into a different expressive form. For example, at the beginning he would focus more on blurred images and then he would turn into more geometric color lumps and into abstraction. So, different working methods determined different artworks.

P：他还是按照自己的想法去创作。

So, he would follow his creative thinking.

A：对，他的作品更多的是水、无形的概念。

Yes, many of his works revolve around water and the concept of dissolution of the form.

P：这让我想起另一个问题：您的作品里常常出现大自然的视觉元素，我们想了解一下您对大自然的概念是什么？中国传统哲学有一个说法叫“天人合一”，您对这个概念有没有任何特殊的感觉。中国传统文化和您的当代艺术语言有没有关系，或者您觉得您受到了什么中国传统文化的影响？

This actually makes me think about another question: nature has often been at the center of your artistic research. What do you think about nature? To what extent concepts related to traditional Chinese aesthetic like unity of nature and humanity (天人合一) influenced your artistic practice?

A：肯定有，比如刚刚提到的“无我”，是佛家的概念；麦积山佛像形成的面貌中，时间的痕迹打动了我，人留下的痕迹终将会被时间抹去，然而时间本身又不存在。消失的过程是最迷人的，而不是结果，我想捕捉的也是这种消失的过程。我最重要的系列作品《黄泉路上》讨论的是生死，是基于东方对于生死的观念，也想回应古人面对生死的态度。孔子说：“未知生，焉知死”，如果一个人对死亡的态度有所转变，那他对生的理解也将发生变化，这些都是传统文化带来的一些影响。

Traditional culture definitely influenced my conception of nature: the notion of selflessness we were just talking about comes from Buddhism. The traces of time displayed on the surface of the Maijishan’s Buddhist statues moved me deeply. The traces left by people will eventually be erased by time, but time itself does not exist. The process of disappearing is extremely fascinating, not the result. What I want to capture is also this process of disappearance. My most important series“On the Way to Yellow Spring”addresses issues related to life and death and it is imbued with eastern conceptions about these subject matter, recalling how ancient people used to look at life and death. Confucious used to say: “If you don’t know life, how can you know death?”. If somebody changes his perception of death, the perception of life will also inevitably change. This comes from the influence of traditional culture.

艺术家工作室 © 郭亚冠

Artist's studio © Guo Yaguan

这次展览的作品是《郭旧冠2023》系列，视觉上有一种很朦胧的感觉，过往发生的种种也在我们的记忆里慢慢消失。中国人自古就很迷恋玉，所以形成了一种特殊的审美方式，喜欢这种一眼望不穿的感觉，玉和玻璃在视觉上有着本质区别，模糊混沌的感觉更耐人寻味。

The works in this exhibition belong to the series "Guo Jiuguan 2023", which is characterized by a mysterious a hazy aura. Things that happened in the past slowly disappears from our memory. Chinese people have been obsessed with jade since ancient times, so they have developed a special aesthetic style and sensitivity for it. They like this feeling of being invisible at a glance. There is an essential visual difference between jade and glass, and the obscure and mysterious feeling is more intriguing.

对于“天人合一”，我的理解是另外一个层面的：我们感受到的一切，在我看来更多是物与物之间的网络，这个网络形成一种特殊的联结。这是每个事物所蕴含的能量产生的频率，我一直尝试在作品里去表现这种能量带来的频率。

I have another understanding of “unity between nature and humanity”: all the things that we perceive, in my opinion, are the result of a network between things, and this network forms a special system of connection. The frequency generated by the energy incorporated in all the elements is what I try to represent in my paintings.

P：在您的很多的作品中，植物元素出现得比较多，我想问一下植物对你来说没有特殊或者象征性的意义。

In many of your works, plants are recurrent elements. Do they have any specific or symbolic meaning?

艺术家工作室 © 郭亚冠

Artist's studio © Guo Yaguan

A：我的工作室里有很多植物，我从小就喜欢养植物、动物。做艺术的人经常独处，需要环境里有一些东西去对话，这也是我刚才所说的能量频率，它会间接影响到我。养植物的时候，一开始它们跟我毫无关系，随着它们长大、和它们不断地交流以后，最后会产生一种效应，植物会长得越来越像你，这种感觉是挺迷人的。它们在现实意义上可能不会给你带来任何实质性的东西，也许只是装饰，也许只是不经意的一眼会带给你很多想象。我享受它们带来的互动。

I have many plants in my studio as I like to grow plants and animal since my childhood. Making art can be very lonely, so it’s important to have something around you to establish a sort of communication with or to develop a frequency of energy. When you start growing plants, at the beginning, they seem to have no relationship with you, however, as they grow, you establish a communication with them until they end up growing like to you. This is very fascinating. They might not bring anything to you in terms of materiality. Maybe they just have a decorative function or they inspire a wide range of different thoughts when we accidentally look at them; however, it is a pleasure for me to establish this interaction with plants.

艺术家工作室 © 郭亚冠

Artist's studio © Guo Yaguan

P：您有些作品中的颜色用的比较厚。可以跟我们分享一下创作过程吗？

In some of your works, colors are applied in thick layers. Could you share with us your creative process?

A：其实是我在追求一种准确性，在创作的过程中总有把握不准确的时候，我会反反复复的涂改到满意为止，颜色也随之越来越厚。相对有些画面把握的比较准确就会很薄，颜色的厚度取决于追求准确性的过程。

I try to pursue accuracy in my creative process, so I often retouch a painting until I feel satisfied, this is the reason why the color is applied in thick layers. Some parts turn out to be very accurate from the beginning so they might end up being thinner. The thickness of the colors’ layers depends on the process for the pursuit of accuracy.

P：您画画的时候，如何决定一个画面是否是完成了。

How do you know when a painting is finished?

A：这种感觉很难定义，如果作品不走出工作室，我可能隔两天就会改一次。每次我都感觉非常满意了，但是过两天再看，看着看着就会又想修改。有时看到特别满意的作品，我很想把它藏起来，把它藏到别的房子里让我看不到，如果被我看到了，肯定又会被修改。

This is a difficult feeling to define: if my works don’t leave my studio, I might end up retouching them every two days. If I feel very satisfied at the very beginning, then, after a couple of days, the more I look at a painting the more I would like to change it. Sometimes, if I am really happy with one of my works, I hide it from my side because if I see it I might change something at one point.

△ 郭旧冠 2023-鲜花 2015

Guo Jiuguan 2023-Flowers 2015

布面油画 Oil on canvas，300 × 250 cm，2023

P：避免不了，对不对？

You cannot avoid it, can you?

A：对，所以一幅作品是否完成，出了工作室的那段时间它是完成的。最接近于完成的状态就是被人收藏后，就算彻底完成了，因为改不了了。

Yes, so to answer your question about when to consider a painting finished, I would say when it leaves my studio. Even more, when it is collected by somebody else: in this case, I would not be able to change it anymore.

P：我们这次展览除了平面还展出了装置，特别是通道中的鼓也是一种中国传统的象征。请问您是如何选择这个元素的？

For this solo show, besides paintings, you also selected installations and a drum which is located by the corridor in front of the entrance, and which is the symbol of Chinese traditional culture. How come you chose this visual element?

A：我没有过多考虑它是中国的或是西方的，我家里还有被喷漆的架子鼓，这次画廊的橱窗展示里也有中国的长条案，还有一些雕塑也是中国传统摆设，同时也有西方动画片里的小玩偶。它是一种混合的、Mix的状态，我一直以来都很喜欢做一件事，就是像调一杯鸡尾酒，把很多元素堆积在一起，它会生成一种跟原有物毫无关系的感觉。我在选择元素时不会考虑它自身的文化属性，更多考虑是否能生成一种陌生感的体验。

To be honest I did not think about Chinese or Western cultural symbols. I have a lot of spray-painted drums at home. Beside the drum, for this show I also selected a Chinese long table to be displayed by the gallery’s window and some traditional Chinese furnishing sculptures to be presented inside; however, there are also some Western symbols like small dolls from cartoons. I always like to work mixing different cultural elements, like you would do when you make a cocktail. In the selection of visual elements, I don’t really focus on cultural attributes, on the contrary I care about whether they can generate an experience strangeness and unfamiliarity.

艺术家工作室 © 郭亚冠

Artist's studio © Guo Yaguan

P：在您的作品当中会偶尔出现“自我映射”，请问这对您有特殊的意义吗？

In some of your works self- representation is a recurrent element. Does it have any specific meaning?

A：有时是无意间带来的。我喜欢观察很多事物包括我自己，我唯一一次画自己画了十五天，每天画一张不同的面貌，那次是用心仔细的观察了一下自己。我画的有些人也加入了自己的特点，不是我有意而为之的，是不经意间的感受。就像佛教里传达的，照见了自己，见众生也能见自己。每个人都在寻找自己在这个世界中所投射的形状，这也可以解释为什么我的画面里会偶尔出现自我映射，是潜意识表达出来的东西。

Sometimes it’s just unintentional. I like to observe many things around me, including myself. The only time I drew myself I did it for 15 days, painting a different face every day. That time I did my best to observe myself. Some of the people I painted actually display my own characteristics. I don’t do this kind of things intentionally. Unconsciously, I might have the same approach suggested by Buddhism: when you see yourself, you can see yourself in all living beings. Everyone looks for the shape they project in this world. This can help to interpret some of the allusions to the self which appear in my paintings, which are often related to visual elements that appear unconsciously.

自画像系列作品 © 郭亚冠

Self-portrait Series © Guo Yaguan

P：那我还有一个小问题，请问《米沙》是您的自画像吗？

Another question, is the work “Misha” a self- portrait?

△ 郭旧冠 2023-米沙 2018

Guo Jiuguan 2023-Misha 2018

布面丙烯 Acrylic on canvas，30 × 40 cm，2023

A：不是，是我一个同学。我画的人像都有点自己的感觉，正如之前提到的，多少会带有自己的痕迹。

It’s not myself, it’s one of my classmates who looks like myself a bit. As I mentioned before, all characters display some traces of me.

P：请问芳草地画廊的这次个展，是如何选择展出的作品的？芳草地是一个特殊的空间，您对这次展览有特殊的期待吗？

How did you select the works for the solo exhibition at Parkview Green Art? Parkview Green is a very peculiar place, what kind of expectations do you have for this show?

A：我还是很期待的。我之前做了很多展览，都是在美术馆或者798做的，观众大多是专业的或者艺术行业里的，我了解他们是什么样的感觉。而在芳草地的观众来自各行各业，我很想知道他们是怎么看待我的作品，这次展出的作品感觉比较暧昧和模糊，不知道他们会有什么样的感受。

I have great expectations. The exhibitions I did in the past were mainly organized in museums or in 798, therefore most of the viewers were people belonging to the artworld or specialized in contemporary art. I knew what to expect. This time is different: I am curious to see how the general public will react in front of my works, especially in front of those vague and ambiguous works.

还有一点，今年有个大师给我算了个命，他说今年有人找你做事，你不要拒绝。（玩笑）哈哈。

Moreover, this year a fortune teller who read my palm said that if somebody asked me to do something, I should not refuse. I’m just joking.

P：您能不能讲讲《西哈努克》系列的作品？

Could you talk about the “Sihanoukville” series?

A：这个系列的作品更加强调转瞬即逝的概念。我之前去了柬埔寨和越南边境的一个岛上，这个岛非常原始，上面没有电也没有任何现代化的痕迹，我们喝莫吉托、喝鸡尾酒的冰都是从大陆上运过去的，手机也没有信号，只能每天面对着大海发呆。我还偶尔画画，那里的人也是世界各地跑过去的，整天无所事事，无聊到一坐一整天。我在那生活了一个月，体验了最原始质朴的氛围。

With this series I want to emphasize the notion of transience. In the past, I went to an island on the border between Cambodia and Vietnam. The island was very primitive, with no running water and with no traces of modernization. Even the ice for the cocktails that we used to drink was coming from mainland. There was no cell phone network signal, the only thing to do was to look at the sea. While I was there, I would paint from time to time, depicting people coming from many different places. Life there was boring: locals used to sit all day. I stayed for a month during which I had the chance to experience a pristine atmosphere.

艺术家在柬埔寨 © 郭亚冠

Artist in Cambodia © Guo Yaguan

之后我去了暹粒，那里的宗教感比较强烈，有很多古代寺庙的遗迹，扑面而来的是强烈的人文历史感。紧接着我又回到西哈努克，又回到一种原始自然的状态。然后我又去了金边，去看S-21等当地的博物馆，在这些博物馆里记录了许多历史战争的、杀戮的，一些这里惨不忍睹的过往。

Later on, I went to Siem Reap, a place characterized by a strong spirituality. There are many relics of ancient temples, and I had the chance to face human history over there. Then I went back to the primitive nature of Sihanoukville. Later on, I went to Phnom Penh, where I visited several museums including S-21. In this museum, there were many historical records about the war, the killing of civilians and the atrocities of the past.

△ 西哈努克 The last point

布面丙烯 Acrylic on canvas

700 × 170 cm，2018

这种切换产生了巨大边界感。我回来之后创作的画面里会有一些割裂的东西，随机的、自然的，其实就是不断切换过程中产生的虚无感。

I was experiencing a sense of boundary caused by this abrupt switching. The paintings I created after I came back were characterized by a sense of fragmentation, with random and natural elements, reflecting the sense of emptiness created by this constant switching process.

龙血树（西哈努克）© 郭亚冠

“The last point” Series ‍© Guo Yaguan

P：您可以跟我们分享一下《你的方舟停在我某个不知名的梦里》这一系列作品的吗？

Could you talk about the series “Your Ark Stopped in one of my Unknown Dreams” ?

A：这个系列的作品是在云南腾冲创作的，那时我刚毕业，也不知道该做什么，每天漫无目的的到处走，走到云南和老挝，留在那里半年多的时间。我旅行时不会做计划，走到哪里算哪里。这个系列的很多画面都是我在游走时去想象的画面，没有考虑画面呈现效果，也没有思考绘画语言、绘画方向，我都不去想，这是我当时的心境，所以这个系列特别静，那时的状态也很简单。

This series was painted in Tengchong, Yunnan. At that time, I had just graduated and didn’t know what to do. Then I traveled to Yunnan and Laos for more than half a year, aimlessly. When I travel, I usually don’t make plans: I go wherever I feel like. Many of the works of the series stem from my imagination during this journey, without taking into consideration painterly language and direction. My emotional condition was very quiet and easy at that time and this status was reflected on this series.

△ 郭旧冠 2023-你的方舟停在我某个不知名的梦里

Guo Jiuguan 2023-Your Ark Stopped in one of my Unknown Dreams

综合材料 Mixed media，150 × 160 cm，2023

和西哈努克系列不一样，虽然都是游走的状态，但是创作西哈努克系列的时候，更多的是自我的反思和思考。这个系列没有太多对于社会和人文的关注，更多是基于当地环境、情绪上的思考以及我的想象。

Even though they are both characterized by the concept of travelling, however this is series is completely different from the Sihanoukville series. Sihanoukville series is more based on self- reflection. Without many references to society and humanity, this series is more focused on reflections about emotions of local environment based on my imagination.

Q10

P：您可以给我们分享一些未来的项目吗？

Could you talk about your future projects?

A：目前正在做的有两个项目。

There are two projects I am currently working on this period.

其中一个项目叫做“夜宴”，前段时间我几乎每天晚上都会邀请朋友到家里吃饭喝酒，连续一个多月的时间，家里朋友最多的时候有五六十人。我不是想直接画这么多人吃饭的场景，而是从中感受人群传达出来的不一样的能量，还有聊天带给我的启示和思维方式以及每个人物的状态，我会基于这些去创作一系列作品。

One is called "Night Banquet" and I started it sometime ago. I basically invited friends to have dinner and drinks every night for more than a month, reaching up to fifty or sixty people in the house. I didn’t directly draw these people eating. What I capture on the pictorial surface is the energy and the inspiration that spending time and talking to these people bring to me. I plan to draw a batch of paintings based on these topics.

艺术家工作室 © 郭亚冠

Artist's studio © Guo Yaguan

另外一个项目，我前段时间去西藏剪了头发。我围着冈仁波齐，一边剪头发一边转山，把剪掉的头发一根根连接起来，一块石头压着一根头发，围着山转一圈，大概五十六公里，最后转完一圈形成了一条项链，是我送给它的礼物。转山用了十多天的时间，会出一部时长不短的纪录片。同时，我打算画一批石头，因为我摆的石头都很好看。

There is another project. I went to Tibet, and I got a haircut over there. I walked around the Mount Kailash, and I cut my hair while walking. I then connected the cut hair one with another and press them under several stones around the mountain. The whole path was about fifty-six kilometers, and, in the end, this installation took the shape of a necklace, as a gift on the neck of the mountain. I walked around the mountain for about ten days and shot a long documentary. At the same time, I planned to paint the rocks I laid out as they look extremely beautiful.

艺术家在冈仁波齐 © 郭亚冠

P：您讲到头发全都剪了围着山转圈，我很好奇转一圈头发是否够用。

You mentioned that you cut your hair to place them around the mountain. Was it enough to cover the whole circle?

A：我之前查过资料，冈仁波齐山分内圈和外圈，我算了一下我头发的长度再加上根数，我头发比较厚，长度普遍七十多公分，应该可以到三十多公里。外圈五十六公里，所以我把这些年所有梳下来、掉下来的头发都攒了起来，比我头上的还要多，转一圈是没问题的。这个项目我准备了七年。

I checked before and found out that Mount Kailash is divided into inner and outer circles.I calculated the length of my hair and added the number of strands. My hair is relatively thick, and the length is more than 70 centimeters, so the final calculation should be more than 30 kilometers. The outer circle is 56 kilometers, so I have collected all the combed and fallen hair over the years. They were enough to accomplish one circle. I have been preparing this project for 7 years.

艺术家在冈仁波齐 © 郭亚冠

P：大概什么时候可以看到这个项目的纪录片呢？

When can we see this documentary?

A：素材比较多，还在剪辑。

I have a large quantity of raw footages that need to be edited.

P：谢谢您的分享，非常期待这个历时筹备七年的展览。

Thank you for your time, we are looking forward to this show that has been prepared for seven years.

关于艺术家

About Artist

郭亚冠，1990年生，毕业于中央美术学院造型学院油画系第四工作室，现任教于中央美术学院油画系。

Guo Yaguan, born in 1990, graduated from the fourth studio of the Oil Painting Department of the School of Plastic Arts, Central Academy of Fine Arts(CAFA), and now teaches in the Oil Painting Department of the CAFA.

近期主要展览及经历如下：“方舟猎人”郭亚冠个人作品展（观唐美术馆，北京 2021）；“寻找大熊星座”郭亚冠个人项目（M房间，北京2018）；“肮脏的奇迹”（罗马湖，北京，2021-2）；“我的春天藏在衣袖里”（中央美术学院，北京，2018）；“年轻的潮”郭亚冠个案展（中国美术学院，杭州，2018）；“左耳失明”郭亚冠肢体项目（原料空间，北京，2018）；“阿耶赖识”郭亚冠肢体项目（下沉广场，北京三里屯太古里，2018）；“罗马湖橱窗艺术实验计划/郭亚冠”（不同艺见艺术中心，北京，2018）。

Recent major exhibitions and experiences are as follows: "Hunter of the Ark" solo exhibition of Guo Yaguan (Tang Art Museum, Beijing, 2021); "Searching for the Great Bear" Guo Yaguan Art Project (Mstudio, Beijing, 2018); "Wonder of Impurity" (Roman Lake, Beijing, 2021-2); "Spring is Hidden in My Sleeve" (Central Academy of Fine Arts, Beijing, 2018); "Young Tide" Guo Yaguan Exhibition (China Academy of Art, Hangzhou, 2018); "50% Empty" Showcase (Raw Material Space, Beijing, 2018); "Alayavijnana" Guo Ya Project (Sinking Square, TaiKoo Li Sanlitun, Beijing, 2018); "Roman Lake-Window Art Experimental Project/Guo Yaguan" (Another Art, Beijing, 2018).