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新氧艺O2art 展讯 | 唐晖个展「獠牙与骨头」将于5月25日开幕

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新氧艺O2art 展讯 | 唐晖个展「獠牙与骨头」将于5月25日开幕崇真艺客

唐晖个展「獠牙与骨头」展览预告

新氧艺O2art 展讯 | 唐晖个展「獠牙与骨头」将于5月25日开幕崇真艺客

新氧艺O2art荣幸宣布将于2024年5月25日推出艺术家唐晖个展“獠牙与骨头”，展期将持续至2024年7月14日。

O2art is pleased to announce that Tang Hui's solo exhibition "Fang and Bone" on May 25, 2024, The exhibition will last until July 14, 2024.

有一天，在王府井大街上，余华在人群中看见一个人，泪流满面，不管周围的嘈杂，自顾自的哭。余华想，究竟是什么样的人，有这样的悲伤？这个想法促成他写出了小说，许三观卖血记。一张哭泣的脸，和身体中的血发生关联。我总天真的以为，画家的工作方法和作家是相反的，画家有自己的经历，有自己的观察，他看到人们忙于对自身的设计、改造、美化和建构，持有、培养并扩张内心的期望，沉迷于各种有效性幻觉，看到月光照亮一切骨头，看到萎缩的牙床上又长出獠牙，画家把故事画成一张张变形的肖像，而后退到一边，不发一言。

——苗炜

One day, on the bustling Wangfujing Street, Yu Hua's gaze was arrested by a haunting vision, a solitary figure, tears streaming unabashed down his face, oblivious to the surrounding cacophony. Yu had a burning question: how and why did this person experience such misery? This poignant inquiry became the muse for his seminal novel Chronicle of a Blood Merchant, wherein the crying face found a connection to blood in the human body.

I often fell gullible to the idea that the painter's trade stands in antithesis to the writer's, with the brushwork springing from the artist's own experiences and observations. Being omniscient, he saw humanity's perpetual self-design, reformation, beautification and construction; possession, nurturing, and expansion of inner expectations; indulgence in efficient hallucinations; vision of moons illuminating upon all skeletal forms and fangs emerging from desiccated gums. The painter twisted stories into metamorphosis of portraits, then he takes a back step in utter silence.

——Miao?Wei

我的另一种相

—— 唐晖

2008年以来我都在摸索一种全新的绘画技巧，在画面中更多突出了线性的表现力，用这种表现方法完成了多个系列的作品。画中用红色的线来勾勒，也尝试过蓝色的线，这些线条都附着在经过处理有肌理效果的块面上，而这样的块面是弱化体积的剪影图像。

今年年初我在绘画技法上有了一些改变，我又开始回归到1995年那会所使用的一些绘画技法，其中包括透明画法、叠加画法等，重点是我开始在画面中强调光影块面的处理，从这一点上看我暂时离开了前一阶段一直在坚守的平面质感与抽象构成为主体的绘画效果，我似乎更看重画面中形态的趣味性与虚拟的真实感，当然我没有放弃前一阶段对颜色材料质感把控与色彩层次的丰富性。

这批作品全是我想象创作的，我也无法解释为什么去画这样一些貌似狰狞、貌似怪异的形象，只有一种可能性就是这样一些形象是我自己心目中自我形象的折射，当然肖像画是绘画中最为传统的绘画样式，我也觉得自己更像一个古典艺术家在工作，绘制的过程中心态是平和的。我要通过平时的视觉积累绘制想象的肖像，不知不觉中很多的绘画习惯接踵而来，比如我最为习惯的骨骼形态，反复出现在画面中，还有我习惯的饱满豌豆形态，不断在反复涌现，每一个画面的构成都会让我觉得貌似相识。绘制中我在尽力维系画面的平衡，这是一种追求作品尽善尽美的习惯，当然我也知道作品过于平稳不是最佳状态，对于作品怎么样才是好作品这一点我已看淡。

去年一直在创作数字艺术作品，我用平板电脑创作，还擅长3D雕刻的创作，这应该是最前沿的创作方式了，没想到今年又回归到最古老的绘画方法，画架、画框、画刀等等，于是乎我有了将数字艺术与传统绘画结合的想法，3D外框可以做些文章，并且还可以在作品系列中增加雕塑作品等，这样一种综合体展示是我希望看到的效果。

我曾想用“骨相、肉相”为展览题目，原因很简单，画面中有獠牙与骨头，也有眼与肉。“相由心生”“骨肉皮相”等。

金刚经第五品：佛告须菩提：“凡所有相，皆是虚妄。若见诸相非相，即见如来。”

My Other “Form"

—— Tang Hui

Since 2008, I have been exploring a new technique that highlights linear expressiveness, and I have done multiple series using this method. These paintings are mostly outlined with red lines, with blue ones as occasional trials. These lines are attached to masses that have texture effects; such masses serve as silhouette images that diminish the sense of volume.

At the beginning of this year, I changed my techniques back to those I used in 1995, including glazing and scumbling, focusing on the light and shadow masses. With this shift, I temporarily bid farewell to the planar texture and abstract composition that I have been sticking to previously. I now probably pay more attention to the interesting forms and virtual reality. Of course, I have given up neither controlling the texture of colors and materials nor enriching the color layers, both of which were parts of my previous attempts.

These works are all based on my imagination. I cannot explain why I depicted these seemingly hideous and weird images. The only possibility is that these images are reflections of myself. Of course, portraiture is the most traditional painting style. I do feel that I work like a classical artist, painting with a peaceful mentality. The imaginary portraits come from everyday visual images I observed and accumulated over time. Unconsciously, old habits returned one after another. For example, my most familiar skeleton forms repeat themselves in the paintings, and the whole peas keep appearing again and again. Every composition seems familiar. When painting, I try my best to maintain a visual balance as a habit of pursuing perfection. Of course, I also understand that an ultra-balanced piece is not ideal, but I am no longer obsessed with producing "good" works.

I was creating digital art works last year using a tablet. I was also proficient at 3D sculpting, possibly the most cutting-edge form of art. Curiously, this year I returned to the oldest painting method, again using easels, frames, and knives. So, I came up with the idea of combining digital art with traditional painting. 3D frame seems a nice try, and I can also add sculptures to my series. I hope to look at the effects of such composite art.

I wanted to use "Bone Form, Flesh Form" as the exhibition title, for a simple reason: the pictures include fangs, bones, eyes, and flesh. To echo that point, the Chinese language has two phrases that can be translated as "form is a reflection of the mind" and "the skin, flesh, and bones determine a person's form.”

In Chapter 5, Diamond Sutra, the Buddha told Subhuti, "Everything with form is unreal; if you see all forms as unreal, you will perceive the Tathagata.”

新氧艺O2art 展讯 | 唐晖个展「獠牙与骨头」将于5月25日开幕崇真艺客

唐晖 Tang Hui

骨相-3 Bone Form - 3

丙烯亚麻，密度板3D雕刻

Acrylic on linen, MDF 3D carving

73x87x6.5cm（画芯尺寸49.5x60x3.5cm） 2024

新氧艺O2art 展讯 | 唐晖个展「獠牙与骨头」将于5月25日开幕崇真艺客

唐晖 Tang Hui

骨骼与心脏 Bones And Heart

丙烯亚麻,3D打印,烤漆

Acrylic on linen, 3D printing, baking paint

35x43x8.6cm（画芯尺寸：直径30x2cm） 2024

关于艺术家

About Artist

新氧艺O2art 展讯 | 唐晖个展「獠牙与骨头」将于5月25日开幕崇真艺客

唐晖，1968年生于湖北武汉， 1987 毕业于中国湖北美术学院附中，1991 毕业于中国北京中央美术学院壁画系，同年留校任教，现任中央美术学院壁画系教授，壁画系系主任，?活?作于北京。

Tang Hui, was born in Hubei Provence in 1968.He graduated from the High School Affiliated of Hubei Institute of Fine Arts in 19987, graduated from the Mural Painting Department of the Central Academy of Fine Arts in 1991, Stayed in the same year to teach. He currently teaching in the Mural Painting Department of the Central Academy of Fine Arts and，professor of Mural painting Department, head of Mural painting Department, lives and works in Beijing.

策展人

Curator

新氧艺O2art 展讯 | 唐晖个展「獠牙与骨头」将于5月25日开幕崇真艺客

苗炜，1968年出生，小说家。曾任《三联生活周刊》副主编、原《新知》杂志主编。已出版作品有《文学体验三十讲》《让我去那花花世界》《星期天早上的远足》《寡人有疾》《面包会有的》《给大壮的信》等。

Miao Wei, born in 1968, is a novelist. He once served as the deputy chief editor of "LIFE WEEK" and the former chief editor of "Awakening" magazine. His published works include "Thirty Lectures on Literary Experience", "An innocent world", "Sunday Morning walk", "I Have a Disease", "There Will Be Bread", "A Letter to Dazhuang", and so on.

鸣谢唐晖个展「獠牙与骨头」展览顾问

Thanks to Tang Hui solo exhibition "Fangs and Bones" exhibition consultant

段少锋

Duan Shaofeng

新氧艺O2art 展讯 | 唐晖个展「獠牙与骨头」将于5月25日开幕崇真艺客

新氧艺O2art艺术空间于2018年建立新空间，长期经营与代理中生代当代职业艺术家，多次推出过独立策划的群展以及艺术家个展，涉及的艺术媒介包括绘画、雕塑、装置、摄影等。目前新氧艺O2art拥有位于北京朝阳798艺术区空间。新氧艺O2art会不断跟进当代艺术家的创作与事业发展，成为构建中国当代艺术生态中不可或缺的成员。

O2art was established in 2018 and has been operating and representing contemporary professional artists from the Mesozoic era for a long time. It has independently curated many group exhibitions aswell as solo exhibitions, with artworks in various media including paintings, sculptures, installations, photography and so on. Now O2art is located in 798 Art Zone. O2art will continue to follow up artists’career and creation development, and become a strong part of China’s contemporaryart community.