CYE × 刘珂旺：但请不要忘记我！ · 上篇

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索引：东方语境下，人总羞于谈论个人情感，自我表露是窘迫而带有危险性的行为。刘珂旺却“固执地”期望以符号化的视觉语言触摸“自我”与“他者”的联系。无论好坏，不愿遗忘，不想遗忘。但联系本身不会长存，这些联系的消失或遗忘在图谱中交替更迭，反哺自我存在与生长。幼时经历产生的碎片化记忆，组成他作品中的符号。他以卡通化视觉语言去将其放大、变形、幻化成神秘而赋予动感的图示，视觉语言的搜集和转化也成为自我生命历程的探索和展现。

For example, butterflies. From the beginning, he loved butterflies, rejoicing in the lightness and beauty of their two wings, to the beginning of his fear of butterflies. The reason is a childhood incident: he saw his mother brought back from a trip to the butterfly specimens of insects feel afraid. In his memory, the butterfly was weak and lifeless, wrapped in a satin-like cloth, with bugs hidden in the middle of the specimen's body, making it look very decadent and scary. The close perspective viewing caused a change in feeling that was etched in his memory.

作品中蝴蝶符号和红色的记忆中联系起来，引发他对于一系列符号化语言的重组和转译，并且被整合起来去虚构一个野草地里发生的事情。

The connection between the butterfly symbols in the work and the memory of the color red triggers his reorganization and translation of a series of symbolic languages and is integrated to fictionalize what happens in a field of weeds.

Ming Huang Cheng "decoration record" said: "Paint for use, also began to book bamboo, and Shun for food, black paint." Yu as a sacrificial vessel, black paint its outside, Zhu painted its inside, and here it has tribute." As one of the most useful materials in early China, the interpretation of lacquer is not only for the use of "utensils", but also for the use of "art". Under the current trend of experimenting with new materials in contemporary art creation, the current lacquer art creation emphasizes more on the aesthetic value of lacquer materials and pays more attention to decorative forms, and Liu Kewang's works are the best embodiment of the exploration of "artistic application" of "lacquer".

刘珂旺《在野草地里》60×120cm 木刻原板&水彩

Liu Kewang “In the weeds" 60×120cm Woodcut & Watercolour

2023

By combining the impactful language of woodcut with the intense colors of lacquer, he has achieved a crafted combination of "lacquer" and woodcut in his work, and this exploration has resulted in a wonderful balance of liveliness and control in his works.

于他，创作中重要的是符号化语言本身的表达，是对自己抽象记忆的具体化实现，材料与工艺只作媒材，仅为途径。而以传统之木刻切入点线面语言、以漆之颜色切入画面色彩本身的方式，更像“自视者”对自我碎片化记忆的雕琢润色。

For him, what is important in creation is the expression of symbolic language itself, the concrete realization of his own abstract memory, and material and craftsmanship are only the medium and the way. The way of using traditional woodcut to cut into the language of dots, lines and surfaces, and the color of lacquer to cut into the color of the picture itself, is more like the "self-viewer's" carving and embellishing of his own fragmented memories.

“‘失去’是无力的，我无法用我的幽默去调侃，去淡化它，它是既成的事实，我们只能接受。这个世界上许多无法改变的事，遇到了就是遇到了，人就是会死，会老，会生病，会成熟，会离开，会不爱你，我们无法避免，只能接受。朋友，快乐一点吧，其实世界没那么重要，所以请不要悲伤，但也不要忘记我”。

"'Loss' is powerless, I can't flirt with my humor to downplay it, it's a fait accompli, we just have to accept it. There are many things in this world that cannot be changed, what you meet is what you meet, people just die, they get old, they get sick, they mature, they leave, they don't love you, we can't avoid it, we can only accept it. Be happy my friend, the world is not really that important, so please don't be sad, but don't forget me either".

刘珂旺《锋利的宝剑》40×50cm 布面丙烯

A：白井智之《名侦探的献祭》《饮啜尸汁》；下村敦史《同名同姓受害者协会》；叶真中显《绝叫》；陈浩基《1367》

天气好的时候路过河边

Pass by the river in fine weather

高铁站旁边的成都人

Chengdu people next to the high-speed rail station

我的狗玩毯子

My dog plays with the blanket

带狗出去玩

Take the dog out to play