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陈鸿志个展 | 越渡之地

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陈鸿志个展 | 越渡之地春美术馆春美术馆崇真艺客

《陈鸿志个展 | 越渡之地》

开幕式 | Opening：2026.1.29 15:00

展期 | Duration：2026.1.29-2.28

策展人 | Cuator：张桂森

艺术家 | Artist：陈鸿志

开放时间 | Time：10:00-17:30

（周一、节假日与特殊情况闭馆）

地址 | Venue：春美术馆（上海福州路655号）

CHUNARTMUSEUM（No.655 Fuzhou Road, Shanghai）

非域之域6 80×60 cm 布面油彩 2020

陈鸿志的绘画世界，始终是一处充满辩证张力的“之间”地带。在这里，可见之物与不可见之思交织，确定的形貌与游移的意义共存，个人的微妙触感与时代的浩瀚回响相互叩问。他的创作，始于我们最为熟稔的日常地表，却总能掘进至意识与存在的深层岩层；源自一份具体的个人生命经验，最终却铺展为一片可供集体凝视、共同栖居的精神场域。

此次个展“越渡之地”，以“非域之域”、“流散地”等系列作品为经纬，陈鸿志为我们勾勒出的，并非一个明确的目的地，而是一段持续的、内在的旅程——一场在无界之境中寻觅坐标，于离散碎片里拼合意义的精神越渡。

流散地 250×300 cm 布面油彩 2020

陈鸿志的“越渡”最终指向一种内在的转化与重建。他的绘画实践，在某种意义上，是以视觉为手段的精神炼金术。他将从现实中攫取的碎片——那些日常的场景、孤立的物件、模糊的人影——进行拆解、变形与重组，注入高度的象征与隐喻，从而构建起全新的意义图谱。画面中那些“可感知的缺席”，那些留白与悬念，那些光影制造的裂隙，是邀请观者植入自身经验与情感的接口。作品不提供封闭的答案或廉价的慰藉，而是开启一场开放的对话：关于我们如何在飞速变化的世界中定位自我，如何在信息碎片中拼合认知的整体，如何在流动与失根的感受中，构筑内在的坚实与归属。

非域之域1 120×100 cm 布面油彩 2019

Chen Hongzhi’s pictorial world is a zone of“betweenness,” saturated with dialectical tension. Here, the visible and the invisible interweave, definite forms coexist with shifting meanings, and the subtle touch of the individual converses with the vast echoes of the era. His practice begins on the most familiar terrain of the everyday, yet it always excavates into the deeper strata of consciousness and existence. It originates from a specific, personal life experience, yet ultimately unfolds into a spiritual field open to collective gaze and shared dwelling.

This solo exhibition, Land of Passage, takes series such as Domain of Non-Domain and Land of Diaspora as its warp and weft. What Chen Hongzhi delineates is not a definite destination, but an ongoing, inward journey—a spiritual crossing that seeks coordinates in boundless realms and pieces together meaning from scattered fragments.

渡红海 250×200 cm 布面油彩 2019

Chen Hongzhi’s“passage” ultimately points toward an inner transformation and reconstruction. His painting practice is, in a sense, a spiritual alchemy using visual means. He takes fragments seized from reality—everyday scenes, isolated objects, vague silhouettes—deconstructs, transforms, and reassembles them, infusing them with potent symbols and metaphors, thereby constructing new maps of meaning. Those “perceptible absences” in the picture, those blanks and suspensions, those clefts created by light and shadow, are interfaces that invite viewers to implant their own experiences and emotions. The works do not offer closed answers or cheap solace but open a dialogue: about how we locate ourselves in a rapidly changing world, how we piece together the totality of cognition from informational fragments, how we construct inner solidity and belonging amid feelings of flux and rootlessness.