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正在展出｜北京公社正在展出石佳韵同名个展《石佳韵》

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正在展出｜北京公社正在展出石佳韵同名个展《石佳韵》崇真艺客

正在展出 What's On

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石佳韵 Shi Jiayun

展期：2024年07月13日-8月24日

北京公社欣然呈现石佳韵同名个展，展览由7月13日持续至8月24日，呈现艺术家近期的一系列绘画作品。物质的点与绘画表面、图形与光影、纹案与物体，此次展出作品画面之间的关联将所谓形象悬置，艺术家以此探索媒介与再现、绘画与视觉机制、个人与图像之间的关系。

正在展出｜北京公社正在展出石佳韵同名个展《石佳韵》崇真艺客

蓝色背景给出天空的信号，《树叶-TYO》和《围栏-LON》应该无疑是“外光（plein-air）”的，然而被画面定格的却不是空气与光线合力之下的变幻。一种并不出于自然却熟悉均匀的光打在不论是前景还是背景、户外还是室内，甚至阴影里也有不亚于光中的细微色调变化。然而，闪烁的灰尘像是停留在布面颜料上的划痕；在一些看起来更为抽象的画面中的光斑与黑质，像蜉蝣于画布之上，阻挡着背后的景象；相似地，《木纹-SHA》和《围栏-LON》中惹眼的反光，似乎也遮蔽了物的纹理。原本遮盖或损害了再现对象的模凌两可的形状，在石佳韵的作品中却以一种形象出现。

正在展出｜北京公社正在展出石佳韵同名个展《石佳韵》崇真艺客围栏-LON _ Iron Fence-LON

石佳韵在创作该系列作品时参照了她在世界各地所拍摄的细节，这些近距离的视角将种种环境剥离。通过绘画对画面进行“编辑”，石佳韵将在日常观看中不经意产生的偶然联想编织进作品互相之间关联中：木纹的反光与橙色夕阳、植物状的栅栏与伸长的枝桠、纺织品的纹样与真实花蕊……这些形状，颜色，光或者物体都是石佳韵编辑图像的材料，他们相互独立，却因为彼此的存在而存在。用一种“形象还未形象化”的视觉状态[1]，石佳韵的切身经验串联起流动的视觉碎片。

正在展出｜北京公社正在展出石佳韵同名个展《石佳韵》崇真艺客灰尘-LON _ Dust-LON

此次展览作品中大量使用不同精度的点，在一些更为粗粝的笔触下，画面模糊像是充满了噪点，疏离着观众与再现画面内的世界。这些点质疑着平滑均质的再现平面，如同躁点作为再现本领的失败一度威胁着不断“隐去自己作为媒介”的摄影[2]。与此同时，在近距离的观看中，这些点随颜料的物质在画布上轻微的起伏。对石佳韵来说，这些点像极了几乎零距离附着于物体表面的一些细微的物质，如《灰尘-LON》中透明玻璃上的灰尘。这是我们熟悉的经验：当沉浸于玻璃背后的景象而视线又偶然聚焦于其上的灰尘时，仿佛被拉回了现实。对于石佳韵来说，画布上的点彩也连接起了绘画内部和现实记忆。

正在展出｜北京公社正在展出石佳韵同名个展《石佳韵》崇真艺客

[1] Georges Didi-Huberman: Confronting Images: Questioning the Ends of a Certain History of Art

[2] Roland Barthes: Camera Lucida: Reflections on Photography

正在展出｜北京公社正在展出石佳韵同名个展《石佳韵》崇真艺客

Beijing Commune is pleased to present Shi Jiayun's first solo exhibition with the gallery “Shi Jiayun” from 13 Jul to 24 Aug, 2024, showcasing the artist's most recent paintings. Traversing between material dots and painting surfaces, patterns and objects, and shapes and modeling, the interconnections among the works in this exhibition suspend the idea of the figure. At its core, the exhibition explores the relationship between medium and representation, painting and visual mechanism, and between the individual and the image.

正在展出｜北京公社正在展出石佳韵同名个展《石佳韵》崇真艺客影子-LON _ Shadow-LON

With the sky signaled by the blue background, Leaf-TYO and Iron Fence-LON seem undoubtedly plein-air, yet they are devoid of vicissitudes of light and weather. It is not a naturalistic light but an even one that illuminates the views both in the foreground and background, in the light and shadow, outdoors and indoors. On the other hand, glistening dust seem to be scratches on the paint; in the more abstract-looking paintings, enigmatic bright or dark flecks brim as if hovering over the image; reflections in, for example, the Wood Grain-SHA and Iron Fence-LON similarly obscure textures of these objects. Ambiguous shapes of fibers and spots that would otherwise disrupt and inflict the representations beneath appear as figures in Shi’s work.

正在展出｜北京公社正在展出石佳韵同名个展《石佳韵》崇真艺客夜晚-SHA _ The Night-SHA

正在展出｜北京公社正在展出石佳韵同名个展《石佳韵》崇真艺客夜晚-SHA _ The Night-SHA _ 细节 _ detail?

Titled after the subject and location, paintings in this exhibition consult the photos the artist took in different places around the world, the zoom-in perspective of which deprives the environment and contexts. “Editing” the images through painting, Shi weaves the inadvertent connections between visual fragments from her everyday viewing into the interconnectedness of the works: the reflection on wood board and sunset, the floral-like fence and skyward branches, the textile pattern and the pistil, and more. For the artist, shapes, colors, lights, or objects incorporated all as visual materials in her work are independent of and exist only because of each other. With her eyes that do not ‘presuppose the “figured figure”,’[1] Shi connects the visual fragments through her experience.

正在展出｜北京公社正在展出石佳韵同名个展《石佳韵》崇真艺客

The works in this exhibition make extensive use of dots of varying precision. In some grittier paintings, these dots seem to be image noise alienating the viewer from the representations. Similarly to the noises implying the failure of the photograph to “annihilate itself as medium”, [2] Shi’s work raises the question about the homogeneous and even surface of the painting. At the same time, a closer look, probably from the side, unveils a very slight undulations of the landscape of those dots. For the artist, these dots resemble subtle substances that adhere so closely to the surface of an object, such as the dust on the transparent glass in Dust-Lon. When one is immersed in the world behind the showcase and the focus is suddenly drawn upon the dust, it is as if one is pulled back to reality. For Shi, the dots on the canvas connect the painting with reality.

正在展出｜北京公社正在展出石佳韵同名个展《石佳韵》崇真艺客

[1] Georges Didi-Huberman: Confronting Images: Questioning the Ends of a Certain History of Art

[2] Roland Barthes: Camera Lucida: Reflections on Photography

关于艺术家

石佳韵1992年出生于重庆，2014年获得四川美术学院油画系学士学位，2019年获得纽约视觉艺术学院硕士学位。现工作生活于上海。石佳韵将绘画视为一种消化视觉世界的系统，无论是抽象或者具象，她感兴趣的是如何通过绘画整理、编辑并串联起流动碎片化的视觉意象与不同的视觉表面。当个人的印记隐退到作品与作品之间的关系时，观众与艺术家的观看经验或许可以发生重叠。对石佳韵而言，在工作中创作这样的连接与重叠是具体且重要的。

About the artist

Shi Jiayun was born in 1992 in Chongqing, China. She received her BFA from the Sichuan Fine Arts Institute (China) in 2014 and her MFA from the School of Visual Arts, New York (U.S.) in 2019. She currently lives and works in Shanghai. Shi considers painting as a system for digesting and integrating the visual world. She explores how paintings, which often traverse between the abstract and the figurative in her oeuvre, can organize, edit, and connect the flow of fragmented imageries and dispersed appearances. When the personal marks recede into the relationship between the pieces of work, the viewing experience of the audience and the artist may reach a connection or an overlap which, for the artist, is substantial and essential in her art practice.

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