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关于生活的细节和琐碎，我们是否真的有时间或者是真的关注过呢？比如，凌晨悄然盛放的花朵，夜幕低垂时翩然落下的叶子，蝴蝶兰花蕊上叶脉的纹路，葱然茂密的枝干……，再或者说每一刻姿态下的我们自己？这些平凡的、细微的、容易被人忽视的事物与景象，在郑丰林的作品中放大了她对于生活的观察并加以全新视角去诠释。这些相似或者看似不相关的物件之间有很多微妙的匹配关系，这个模棱两可的限阈里充满不确定，难以言说。正如加缪说的，生命之所以丰富，在于它的暗哑和未言明。对于郑丰林来说，用原本冷静、客观的植物入画，精确的造型语言、高超的塑造方式是她多年接触绘画艺术的积累和沉淀。她不停挖掘、深入，力求找寻自己的那份特殊语言。
Regarding the details and minutiae of life, do we ever really have the time or really pay attention to them? For example, the flowers that quietly bloom in the early morning, the leaves that flutter and fall when the night is low, the veins of the leaves on the stamens of the Phalaenopsis orchid, the lush branches ......, or ourselves in every moment of gesture? These mundane, subtle and easily overlooked things and scenes are magnified in Zheng Fenglin's works as she observes life and interprets them from a new perspective. There are many subtle matches between these similar or seemingly unrelated objects, and this ambiguous threshold is full of uncertainties that are hard to describe. As Camus said, the richness of life lies in its darkness and ineffability. For Zheng Fenglin, using the originally calm and objective plants in her paintings, the precise modelling language and the highly skilled way of shaping them are the accumulation and precipitation of her years of exposure to the art of painting. She keeps digging and going deeper, striving to find her own special language.
郑丰林《甜言蜜语》120×90cm 布面油画
Zheng Fenglin ‘Sweet Nothing’120×90cm Oil on canvas
静观几瞬，会看到我们常常因为外物的叨扰而忽视的自己。它们纯粹、静穆、幽然，却又都带了些许的孤独感。她说：“我经常将人从我的画面考虑因素中剔除。在我的画面中虽然没有具体的人物出现，但是人的痕迹却始终被暗示出来。”
If you look at a few moments of silence will see that we often because of the chatter of the outside world and ignore their own. They are pure, serene and ethereal, yet they all carry a slight sense of loneliness. she says. ‘I often remove people from consideration in my images. Although no specific person appears in my images, traces of people are always implied.’
郑丰林《因为爱是会错假意》120×90cm 布面油画
Zheng Fenglin ‘For love would be love of the wrong thing’120×90cm Oil on canvas
“日常”（daily life）和“现实”（realism），在创作过程中需要艺术家不断的体会和琢磨，她需要在“日常”与“超现实”间找出合适的比例。如法国哲学家莫里斯·梅洛-庞蒂（Maurice Merleau-Ponty）在《眼与心》中所写：艺术把可见的实存（existence）赋予给世俗眼光认为是不可见的东西，它让我们无需“肌肉感官”（sens musculaire）就能够拥有世界的浩瀚。她用细腻的笔触勾勒画中的形象，期望客观对象尽可能贴近现实、完美无瑕，又通过微妙的过渡和转折使对象与现实产生距离感，带着些许不寻常。关于超现实她并不想像达利或者玛格丽特那样的显而易见，她尽可能保留含蓄和隐晦的表达。
In the process of creation, the artist needs to constantly experience and ponder over ‘daily life’ and ‘realism’, and she needs to find the right ratio between ‘daily life’ and ‘surrealism’. She needs to find the right proportion between ‘daily life’ and ‘surrealism’. As the French philosopher Maurice Merleau-Ponty wrote in The Eye and the Mind: Art gives visible existence to what the world considers invisible, and it allows us to see without the need for ‘muscular senses’ (sensusculaire). It allows us to possess the vastness of the world without the need for ‘musculaire’. She uses delicate brushstrokes to draw the images in her paintings, expecting the objective object to be as close to reality as possible, perfect and flawless, and then, through subtle transitions and twists, to make the object a little out of reality and a little unusual. She didn't want to be as obvious as Dali or Marguerite about the surreal, and she kept her expressions as subtle and veiled as possible.
郑丰林《It's okay to not be okay》90×60cm 布面油画
Zheng Fenglin ‘It's okay to not be okay’ 90×60cm Oil on canvas
郑丰林《没有鲜花的静物》120×90cm 布面油画
Zheng Fenglin ‘Still life without flower’ 120×90cm Oil on canvas
2023
“比如《甜言蜜语》中蝴蝶结上面插的针；《因为爱是会错假意》被掐掉花蕊的百合；倒插的百合花对应扑克牌颠倒的数字；《没有鲜花的静物》花布包围的环境中只有空瓶；被切断的叶片、发光的茎。”
‘For example, the pins stuck on top of the bows in Sweet Talk; the lilies with their stamens pinched off in Because Love Is the Wrong Kind of False Intentions; the upside-down lilies corresponding to the upside-down numbers of the playing cards; the empty vases instead of flowers in the environment surrounded by floral fabrics in Still Life Without Flowers; and the severed leaves, the glowing stems.’
郑丰林《亲爱的，这是所有的答案》90×90cm 布面油画
Zheng Fenglin ‘All the Answers, Honey’ 90×90cm Oil on canvas
2022
郑丰林《静脉》《静脉2》30×40cm/30×30cm木板油画
Zheng Fenglin ‘veins ’ ‘veins 2 ’30×40cm /30×30cmOil on wood“对如何体现人、人和自然到底如何相处这些问题的思考让我把目光投向诸如蝴蝶兰、百合或郁金香之类的被大量人工培育、基因改造的花。选取特殊含义的物件，能为画面赋予更多一层的故事，不光是形式上的美感。”
‘Reflections on the questions of how to embody people and how people and nature really get along led me to look at heavily cultivated, genetically modified flowers such as phalaenopsis orchids, lilies or tulips. Choosing objects with a special meaning can give the picture a further layer of story, not just formal beauty.’
郑丰林《燃烧》50×40cm 布面油画
Zheng Fenglin ‘Burning’ 50×40cm Oil on canvas
2023
她说：“我的作品从最开始所有东西处在飘渺的空间中逐渐聚焦到一个桌面上。在人们触手可及的空间中，以少总多、以小见大。我觉得这种表达很有趣，而且静物画体裁有着古老的历史，古典的形式是稳定的。我把冲突放在画面的内容里，善与恶，生与死，真实与假象，人造与自然。我想让对立事物之间不止有冲突，也可以拉近它们的距离。”
She says, ‘My work starts with everything in an ethereal space and gradually focuses on a tabletop. The less is more, the smaller is bigger, in a space that is within one's reach. I find this kind of expression interesting, and the still life genre has an ancient history, the classical form is stable. I put conflict in the content of the picture, good and evil, life and death, real and fake, man-made and natural. I wanted to make more than just a conflict between opposites, but also to bring them closer together.’
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郑丰林《暮星》60×90cm 布面油画
Zheng Fenglin ‘Evenstar’60×90cm Oil on canvas
郑丰林《无可奉告》120×90cm 布面油画
Zheng Fenglin ‘No Comments’120×90cm Oil on canvas她用细微静物的千万种姿态去隐喻自我的思考和追求，就是于“未言明”中给予自我和观众最强烈的表达。真正动人心魄的艺术作品，也并非一定要明媚的色调、 强烈的笔触、甚至是别出心裁的形式，“静静地站立”也可以强有力的诉说。She uses the millions of gestures of subtle still lifes as metaphors for her own thoughts and pursuits, which is to give the strongest expression to herself and the audience in the ‘unspoken’. Truly inspiring works of art do not necessarily require bright colours, strong brushstrokes, or even original forms; ‘standing still’ can also be a powerful statement.
郑丰林《深光03》135×180cm 布面油画
Zheng Fenglin ‘Deep Light 03’120×90cm Oil on canvas
郑丰林《你前来靠近我一点》25×25cm 布面油画
Zheng Fenglin ‘Come closer to me’ 25×25cm Oil on canvas
2022
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Q：哪个时期的艺术或艺术活动、观念对你影响最深，在你的作品中有哪些体现呢？A：就目前这个阶段来说，静物题材是我最关注的，荷兰黄金时期的古典静物和马奈的静物画都对我影响很深。那个时期的静物画华丽、细腻，充满着寓意和思考，和我们所处的时代和生存状态有类似的部分。古典的气质包括我选择油画这个古老的媒介，能帮我和现在的时代拉开距离，我喜欢这种距离感。我的作品乍一看形式上是古典的，细节里可以暗示出现实的困境和自我的内省。Q：体制化及学术性的创作训练于你而言的意义是什么？A：我经历了长时间而且严格的绘画基础训练，扎实的基本功就是我此刻在艺术这条道路上的底气：不用担心，技术上我都能做到。画好一个什么东西对我来说很简单，因此才能心无旁骛地琢磨“我是谁”“我想表达什么”这个问题。Q：如果把创作作为一门职业，心态会有变化吗？
A：作为职业艺术家，对我而言没什么变化。心态上也很少会受到外界的影响，因为是为了自己做事，遵从内心，所以非常真诚，好像要把自己剖开，掏心掏肺的。
Q：倾向于“精心控制”还是“随性松散”？
A：在精心控制中显得随性松散。
Q：能分享一下未来的创作计划吗？
A：在各种尝试中我的创作方向慢慢清晰起来了。我的创作内核是一致的，元素很广泛包括动物、植物、花朵，有时会出现人的局部，基本可以梳理为两个主要系列。接下来的计划是聚焦，在更小的范围内深入研究，再打磨出一系列高质量的作品。
A：博尔赫斯《小径分叉的花园》、罗安清《末日松茸：资本主义废墟上的生活可能》、E.M.齐奥朗《眼泪与圣徒》、翁贝托·埃科《帕佩撒旦阿莱佩》、歌德《植物变形记》。
Raise large phalaenopsis orchids from thumb-sized seedlings.工作室下午的光。??????
Studio afternoon light.
Wildcat neighbours, known each other for almost 7 years.
1998年生于北京?
现居工作生活于北京
2022年考入中央美术学院造型学院，攻读硕士学位
2021年毕业于中央美术学院油画系第三工作室，获学士学位
2017年考入中央美术学院造型学院（专业成绩全国第一名）
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2024年北京当代艺术博览会 叁拾空间 北京；深澄 艺森空间 深圳/2023年形态复调 仚東堂 北京；花园的黄昏 艺森空间?汉京中心FENDI CASA 深圳；第三届中国新疆国际艺术双年展 新疆美术馆 新疆/2022年 遇见?预见——中国当代艺术藏家推荐展 博乐德艺术中心 北京/2021年青春新动力——来自央美的青年艺术家 石家庄美术馆 河北；功夫——央美造型基础部成立二十周年展 中央美术学院美术馆 北京/2020年 第二届艺术与设计创新未来教育博览会 上海西岸艺术中心 上海/2019年 “青春，足迹”主题创作展 中央美术学院 北京
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