艺术家新闻｜NISKY 个展「未完成天堂 Il paradiso non finito」| 否画廊 纽约

NISKY的近期创作围绕颜料的物质性展开，他抛开预设，让颜料自身”幻化“形态。他用胶带勾勒出不规则的区域，在各区域叠涂绿色与棕色的颜料，再将布料按压在湿颜料上，用指甲或工具在表面刮擦。当他移开布料时，意外的纹理随之浮现，人脸与树枝的形态呼之欲出，再以笔触加以完善。这种方法让人联想到马克斯·恩斯特（Max Ernst）的刮擦法 (Frottage) 与18世纪的移印技法 (Decalcomania) ，以随机形态创造奇异景观。在《超越绘画》中，恩斯特引用达·芬奇的观点——从污渍中发现图像，将艺术才华与随机发现相关联，而NISKY则将这一理念推向更远。正如他所言：

艺术如同解谜。我试图从颜料的无序状态中挖掘答案，推理真相。

—— NISKY

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NISKY embraces the materiality of paint, letting it dictate form rather than imposing preconceived ideas. He outlines irregular areas with tape, layering green and brown pigments before pressing a cloth onto the wet surface. By scraping with fingernails or tools and tearing the cloth away, unexpected textures emerge—suggesting faces and branches, which he refines with brushstrokes. His process recalls Max Ernst’s Frottage and Decalcomania, where randomness shapes surreal imagery. In Beyond Painting (1948), Ernst cited Leonardo da Vinci’s idea of finding images in stains, linking artistic genius to randomness—a concept expanded by NISKY. As he asserts,

NISKY的艺术哲学深受其视觉艺术家与音乐家双重背景的影响。就像施托克豪森在电子音乐创作中打破流派界限的先锋性探索，NISKY的绘画融合了多元的视觉主题，从中国风（Chinoiserie）与希腊陶器到汉代画像石与非洲木雕，不一而足。如果说艺术家在其早期作品中着重强调大胆的图形元素，那近期转向风景画的创作则探索了深度、物质性以及自然作为普世恒常的主题。

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NISKY’s artistic philosophy is deeply influenced by his background as both a visual artist and a musician. Like Stockhausen’s pioneering work in electronic compositions that dissolve genre boundaries, NISKY’s paintings integrate diverse visual motifs, from Chinoiserie and Greek pottery to Han Dynasty portrait stones and African wood carvings. His earlier works emphasized bold, graphic elements, while his recent shift toward landscape painting explores depth, materiality, and the theme of nature as a universal constant. 

刘弈夫是一位艺术史学者与策展人，现任弗里克收藏馆（The Frick Collection）2024年度安妮·L·普莱特策展研究员（Anne L. Poulet Curatorial Fellow）。他目前正在普林斯顿大学完成艺术与考古学博士学位，专注于十八世纪欧洲与中国的文化交流研究。

他的研究领域涵盖艺术实践的杂糅、知识的翻译、清代宫廷的传教活动、欧洲收藏中中国艺术与建筑的视觉呈现，以及宫廷制造与出口商品之间的复杂关系。他曾担任波士顿学院利玛窦中西文化历史研究所（Ricci Institute for Chinese-Western Cultural History）的博士研究员，并在摩根图书馆与博物馆（The Morgan Library and Museum）、布鲁克林博物馆（Brooklyn Museum）和普林斯顿大学艺术博物馆（Princeton University Art Museum）的策展与教育部门工作。此外，他还在木木美术馆（成都），银川当代美术馆和今日美术馆（北京）等中国机构积累了丰富的策展经验。

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Yifu Liu is an art historian and curator. He is a PhD candidate in Art and Archaeology at Princeton University, and Anne L. Poulet Curatorial Fellow at The Frick Collection. His research focuses on the cultural exchange and hybridization of artistic practices between Europe and China in the 18th century. 

He was the doctoral fellow at the Ricci Institute for Chinese-Western Cultural History at Boston College, and he worked in the curatorial and education departments of the Morgan Library and Museum (New York), Brooklyn Museum (New York), and Princeton University Art Museum (New Jersey). He also gained curatorial experiences by working in a number of art institutions in China, including M Woods Museum (Chengdu) and Museum of Contemporary Art (Yinchuan) and Today Art Museum (Beijing). Currently, he is preparing for an upcoming exhibition at the newly renovated Frick space in 2026, and organizing the annual art history symposium in collaboration with the Institute of Fine Arts of New York University in 2025.