展览预告｜无锡空间钱新叶个展“渡”将于9月25日开幕

渡

Crossing

钱新叶的创作始终围绕着一种内在状态展开：从早期的激烈与挣扎，逐渐转向内敛与蓄力，在妥协中寻找自洽，又重新回到对具体经验的面对与接纳。这并非一条清晰抵达的路径，而更像一次持续往返于内心与现实之间的探索。

“渡”是她创作中重要而潜在的意识。她偏爱水、火、云、烟等无定形、瞬息万变的意象，也常将画面中心留白、放空。对于她而言，空并非缺失，而是一种主动让渡：当创作者退后一步，画面才有可能向观看者敞开。作品不必给出确定的答案，而应成为情绪与记忆发生共鸣的媒介。那些“能够感觉到，却说不清楚”的瞬间，恰恰构成了观看最真实的部分。

因此，钱新叶所理解的山水，并不止于山川形貌。北海公园可以不再是一个需要被准确描绘的地点，而成为一次划船时的水波与记忆；扬州园林也不仅是亭台、假山、花窗和草木，而承载着童年游园、与外祖父母共度的温暖经验。具体的景物在她的创作中逐渐转化为个人感知的符号，山水由此从“所见”走向“所感”。

这种观看方式也使她重新发现传统中国画的开放性。不同于固定透视下对物象的再现，中国画通过散点观看、移步换景、长卷展开等方式，将空间、时间、记忆与身体经验纳入“写真”之中。对她而言，传统材料与笔墨并不是限制，而是一种获得自由的方式。绢本的轻薄、透明与脆弱，适合承载转瞬即逝的感受；水墨的氤氲，则使画面获得朦胧而诗性的叙事空间。

在她的作品中，“光”亦成为连接不同文化经验的重要线索。中国山水中的“神光离合”与西方艺术中具有神圣感和生命力的光，在她的感知中彼此交汇。一端是中国文人在山水之间寻找精神秩序与自我平衡的微光，另一端则是西方文化中指向生命、超越与信仰的圣光。二者共同构成了她对于光的想象，也成为她建立个人绘画语言的一种方式。

钱新叶并不刻意追求某种预设的构成。她习惯以毛笔直接进入画面，让一个水波生发出另一个形态，让笔势、身体和偶然性共同推动画面生成。由此，传统笔墨训练并未消失，而是以新的面貌潜入当下。她试图建立的，是属于这一时代、也属于自身经验的“山水”符号——它既关乎自然，也关乎记忆、情绪、身体与时间。山水因此不再只是一个被描绘的对象，而成为一处可以无限生发的精神空间：从具体走向抽象，从观看走向感知，从“描绘世界”最终回到“理解自己”。

Crossing

Qian Xinye's creations consistently revolve around an intrinsic state: from the early intensity and struggle, it gradually shifts towards introspection and accumulation of strength, seeking coherence through compromise, and then returning to face and accept specific experiences. This is not a clearly defined path but more akin to an ongoing exploration oscillating between the inner self and reality.

“Crossing” is an important and underlying consciousness in her work. She favors amorphous and ever-changing imagery such as water, fire, clouds, and smoke, often leaving blank spaces at the center of her compositions. For her, emptiness is not a lack, but an active concession: when the creator steps back, the artwork has the potential to open up to the viewer. The work need not provide definitive answers; rather, it should serve as a medium for emotions and memories to resonate. Those moments that "can be felt but cannot be clearly articulated" precisely compose the most genuine aspect of viewing.

Thus, the mountains and waters as understood by Qian Xinye go beyond mere geographical forms. Beihai Park may no longer be a place that needs accurate depiction but rather a wave of water and memory experienced while rowing; the gardens of Yangzhou are not just pavilions, artificial hills, flower windows, and plants, but carry the warm memories of childhood visits and time spent with grandparents. The specific landscapes in her creations gradually transform into symbols of personal perception, thus shifting the understanding of mountains and waters from "what is seen" to "what is felt."

《融融》27.5 x31.5cm 绢本设色 2026

This way of viewing also allows her to rediscover the openness of traditional Chinese painting. Unlike the fixed perspective in the representation of objects, Chinese painting incorporates space, time, memory, and bodily experience into "representation" through techniques such as scattered point viewing, shifting scenes, and the unfolding of long scrolls. For her, traditional materials and brushwork are not restrictions, but a means of gaining freedom. The lightweight, transparent, and fragile nature of silk paper is suitable for carrying fleeting sensations; the misty quality of ink gives the image a hazy and poetic narrative space.

In her works, "light" becomes an important thread connecting different cultural experiences. The "divine light" in Chinese landscape painting intersects with the sacred and vital light found in Western art through her perception. On one end, Chinese scholars search for spiritual order and self-balance within landscapes, while on the other, Western culture points towards life, transcendence, and faith with its holy light. Together, they form her imagination of light and serve as a way for her to establish her personal painting language.

Qian Xinye does not deliberately pursue any predefined composition. She is accustomed to directly entering the canvas with her brush, allowing one ripple of water to give rise to another form, letting brushstrokes, the body, and chance collectively drive the generation of the image. Thus, traditional brush training has not disappeared but has instead infiltrated the present in a new guise. What she attempts to establish is a "landscape" symbol that belongs to this era and her own experiences—one that pertains both to nature and to memory, emotion, body, and time. Hence, landscapes are no longer just objects to be depicted; they become an infinitely generative spiritual space: moving from the concrete to the abstract, from viewing to perceiving, and ultimately returning from "depicting the world" to "understanding oneself."

钱新叶

教育背景

2016年考入中央美术学院附中 

2020年保送至中央美术学院中国画学院

2024年保送至中央美术学院中国画与书法学院攻读研究生

个展：

2025 《画中四时——2025驻留艺术家钱新叶个人艺术展》，纽伦堡-埃尔兰根孔子学院艺术空间，纽伦堡，德国

2025《钱新叶：海外驻留项目汇报展》，中央美术学院ink实验室展厅，北京

群展：

2026京都国际书画大展，京都市京都美术馆，日本京都

2026此间清和，M美术馆，苏州

2025艺术深圳——当代艺术博览会，深圳会展中心，深圳

2025广岛国际艺术交流展，广岛县立美术馆，日本大阪

2025造化为詩——画语的传承与新生，山东省烟台市文化馆，烟台

2025十年再出发——中央美术学院千里行奖学金获奖作品邀请展，朗艺美术馆，青岛

2025毕业之后，你还好吗？一—中央美术学院毕业生作品邀请展，陶溪川美术馆，景德鎮2025“传移模写”中央美术学院中国画临摹教学作品展，中央美术学院美术馆，北京

2025游于艺——青年艺术家近作邀请展，美克洞学馆，北京

2025 胡同ing，隐美术馆，北京

2024憩云——庆祝新中国成立75周年中央美术学院水墨邀请展，北海公园画舫斋，北京

2024大美龙疆——全国高等艺术院校山水画师生作品展及俄罗斯高等艺术院校油画风景师生作品展，禹舜美术馆，哈尔滨

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