收录于话题
#CYE
“我画我想而非所见”（毕加索）。此间，一切想象皆为真实。
"I paint what I think, not what I see" (Picasso). In this case, everything imagined is real.
Huang Long “Centry egg monitor mode" 75×75cm Oil on canvas
黄龙《冬季外卖》 76.5×101.5cm 布面油画Huang Long “Winter takeout" 76.5×101.5cm Oil on canvas
从图像本身来说，黄龙笔下的画面更像是充满指涉与象征意义的符码，他充当文本的编码者，以隐秘的自我意识在图像中密布观看的谜题，让意义在暧昧中呈现为模糊多维的不定。一如标题“鸭子玩具投射性投入”，似乎毫无道理和逻辑。于描绘者，意义却从未如作画时刻那般充盈。事物不过以其向自我敞开的样子，画面重现。
In terms of the images themselves, Huang Long's pictures are more like symbols full of references and symbolism; he acts as the encoder of the text, densely layering the puzzles of viewing in the images with his hidden self-consciousness, so that the meanings in the ambiguity are rendered as vague and multi-dimensional uncertainties. As the title "Duck Toys Projective Input" suggests, it seems irrational and illogical. For the artist, meaning is never as abundant as at the moment of painting. Things are just reproduced in the image as they are open to the self.
黄龙《鸭子玩具投射性投入》 80×80cm 布面油画
Huang Long “Duck toy projective introjection " 80×80cm Oil on canvas
在创作中，他几乎强烈意识到图像所携带的、迥异于以文字的叙述潜力。前者于历史文本中已然筑构出相对清晰的能指，这在一定程度框定了阅读者的心理定势。相较而言，后现代图像则以自我去中心化的方式对世界作出新的排布和阐释。在此，既定的话语逻辑失效，转而生成画面中由文字向图像过渡中所凝聚的个体痕迹。于他而言，这是一种持续的诗意自我填充。他在图像与文字，空间性（静止）与时间性上寻求一种不稳定的平衡，以及二者作为相反概念存在的同时性。
In his work, he is almost acutely aware of the narrative potential of images, which is quite different from that of words. The former has already constructed relatively clear references in historical texts, which to a certain extent frames the reader's mental attitude. In contrast, the postmodern image is a new way of arranging and interpreting the world in a self-decentering way. Here, the established logic of discourse fails, and the individual traces that coalesce in the transition from words to images are generated. For him, this is a continuous poetic self-filling. He seeks an unstable balance between image and text, spatiality (stillness) and temporality, and the simultaneity of their existence as opposite concepts.
Huang Long “Wish maker" 75×75cm Oil on canvasHuang Long “Pool of the fool" 120×150cm Oil on canvas起初，黄龙创作的灵感来源于通过Japanese Jazz hiphop（日系爵士嘻哈，东西方的融合音乐） 产生的一种类似于Saudade（恍然若失）的情感， 由此他尝试从文字以及诗词的角度去理解这种乡愁存在与未知的矛盾感。在画布上抒情抽象，就像中国诗画中，图像与文字相结合，但又可以去除指代性，像音乐一样共通。
During the period of isolation, opportunities to go out were few and far between, so the author appeased the longing for nature by combining natural scenery with the interior of the home and a surreal mood.
Huang Long “Pool of the landing" 140×150cm Oil on canvas
Huang Long “Pool of the ascending" 119×115cm Oil on canvas
文字，在他看来，是一种用于表达个体需求及欲望的方式的人为的痕迹。诗词、电影对白、小说，甚至是网络评论，作为一种高度凝练的语言形式，都会对他产生像对图像的刺痛 （punctum，Roland Barthes）。If "The Story of Peach Blossom Garden" is the poet Tao Yuanming's dissatisfaction with the reality of life and the pursuit of the ideal of a better life, then the "Cramped Life" series of works shows her desire to get away from the hustle and bustle of the city and to return to the idyllic life, which is the pursuit of a simple and pure life deep down in her heart.
Huang Long “Underdog" 95×95cm Oil on canvasHuang Long “Moving walkway" 70×100cm Oil on canvas在黄龙最新的系列绘画当中，将之前的抽象元素和由公园景色受到灵感的图像结合，创造出了一种充满遐想的叙事风格。对于观者来说，新的画作无疑会使人产生近乎于梦境的感受，所有的场景在似与不似之间试探着视觉感官，迫使人去辨别实际存在的具体事物和近似于某种事物的可能性。在充满熟悉的陌生当中，走入了他的精神世界。"Nature has always been a solace and utopia in my daily life, it has a special value and meaning for me, I don't want to just glorify the Creator's ghostly work with realistic brushstrokes, I want to be involved in my own creation. I want to put these little trees, flowers and snowy mountains in my own little room, so much so that I can see them when I look up".Huang Long “Space lion" 140×100cm Oil on canvas
Huang Long “Rewind" 115×160cm Oil on canvas
画中除了像是水池的相同要素出现之外，还有水池扶手这样一个主要的形象贯穿整个创作。在层层梦境穿梭时，扶手既像是通往下一个场景的指引，又仿佛是一个特定的指代。在电影盗梦空间当中，人物们为了辨别现实与梦境，会携带各自的图腾，在飘忽不定的时刻用来检测自己是否离开了梦境。或许扶手就是黄龙的个人图腾，但是这种图腾更像是占领土地的旗帜，宣告着这里已经成为了他的私人领域。
In colour psychology, green symbolises vitality, peace and life. In the painting "Lake", which is composed almost entirely of green, we are taken to a world full of vitality, with lush lakeside and sparkling surface, she brings out the vitality and vigour of nature through her delicate brushstrokes and rich green colour.
Huang Long “Summertime looty" 160×150cm Oil on canvas
Huang Long “Soft Statue" 140×125cm Oil on canvas
Q：最近有什么感兴趣的主题吗？什么样的场景和素材会吸引到你。A：过去一年的创作大多都是围绕着泳池这个主题。素材通常来源于公园，日常生活中的犄角旮旯，动物, 互联网。Q：你认为当下的艺术，或者艺术创作，最重要的是什么？A：我认为对于个人来说，风格作为形式语言在创作的周期中是会不断去延续或者改变的。A：《疯癫与文明：理性时代的疯狂史》米歇尔·福柯（法国）；《红书》荣格（瑞士）；《消费社会》鲍德里亚（法国）；《杜尚访谈录》皮埃尔·卡巴纳（法国）；《抽象与移情：对艺术风格的心理学研究》威廉·沃林格（德国）。
最近在工作室都会待到晚上，就会看到狐狸在周围游荡，一般它都会很小心地避开人类，可还是被我偷拍到正脸了。
Lately I've been spending evenings at the studio and I've been seeing the fox wandering around, usually he's very careful to avoid humans, but I still managed to sneak a proper shot of his face.
在我现在住的公寓楼下有一片绿茵，摆设了一些大象雕塑，白天的时候很多游客会驻足观看，到了晚上会有很多年轻人爬上去拍照。
Underneath the apartment building where I now live there is a green area with some elephant sculptures, and during the daytime many tourists stop to look at them, and in the evening many young people climb up to take photos of them.
朋友家租在一个上世纪的公寓楼里，这是每层都会有的垃圾房，垃圾会通过管道输送到楼下统一处理。这个方向正好对着公园，每年节日放烟花的时候，听说住户都会簇拥在这里观看。My friend's family rented in a last century apartment building, this is a rubbish room on every floor, the rubbish will be transported through the pipe to the downstairs for uniform disposal. This direction is right across the street from the park, and every year when the fireworks are set off during the holiday season, I've heard that the tenants flock here to watch them.
好朋友陈文轩在伦敦ugly duck参与策划的一个展览项目，艺术家每人的作品通过行李箱的方式携带到场地里陈列，在入场的时候需要通过安检门，然后像是在机场过海关一样进入到展厅里，整个过程也是展览的一部分。A good friend, Chen Wenxuan, was involved in curating an exhibition project at ugly duck in London, in which each artist's work was carried to the venue for display by way of a suitcase, and the whole process was part of the exhibition as it needed to pass through a security gate during entry, and then enter the exhibition hall as if it were going through customs at the airport.
年初在北京伯年艺术空间做展览前和策展人王垚力一起布展，在对灯光进行最后最后最后的调整。At the beginning of the year, before the exhibition at Beijing Bornian Art Space, I worked with curator Wang Yao Li to set up the exhibition, and was making the final, final adjustments to the lighting.黄龙
展览
2024 年伯年艺术空间，《边境物语》，北京，中国；没顶画廊，《意外之歌》，上海，中国 / 2023 年conic Images Gallery, 《The Healing Power of Art and Music》, 伦敦, 英国; EDA艺术空间, 《冬季展2022》, 深圳, 中国 / 2022年Mall Galleries, 《The ING Discerning Eye 2022 Exhibition》, 伦敦, 英国；London Paint Club, 《Tendencies in Painting》, 伦敦, 英国 (线上展览)；Sunny Art Centre, 《Sunny Art Prize 2022 (London Group Exhibition)》, 伦敦, 英国 / 2021年GALERIA AZUR, 《Modern Archetypes》, 马德里, 西班牙；Candid Art Trust, 《中央圣马丁艺术与设计学院研究生毕业展》, 伦敦, 英国；PEARLONA 大客厅, 《序言》, 上海, 中国 / 2020年Apiary Studio, 《中央圣马丁艺术与设计学院中期作品展》, 伦敦, 英国
{{newsData.good_count}}
{{newsData.transfer_count}}
分享