Monologue : Works on Paper Exhibition

monologue

Hu Yun, Hu Zi, Mo Di, Wang Dawei, Wang Tingting
April 18 2010 – Jun 17 2010
Opening Reception: Apr 17 Sat 4-8pm
 
胡昀、胡子、莫頔、王大卫、王婷婷
2010年4月18日 - 2010年6月17日
开幕式: 2010年4月17日 周六 下午4 – 8点
 

In recent years, young / new artists have responded increasingly to the shifts that have occurred in the Chinese art world by rejecting certain ‘standards’ and benchmarks that had become almost a de facto part of being a Chinese artist. One of these contra-stances has been a reduction not only in the scale of art works being produced, but also in the physical substance of those works. No longer the exclusive, grand gesture in paint on a perfectly mounted piece of canvas but, instead, tiny scribbled reflexes on scraps of paper, cloth, tissue; whatever, in fact, is at hand. Here, too, one finds a shift in values: no longer are such works considered precious ‘products’, although ironically, the best of them have exactly this quality in the combination of their physical fragility, the intriguing nature of their purpose and intent and their precious proportions  – Karen Smith

Monologue is a most intimate activity.

The works from this exhibition are all initially for artists themselves, they are the dialogue with artists themselves, perhaps to express feelings to someone they love or the critical representation to people surrounded or even to themselves. This direct and pure expression of an artist’s thoughts without any intention of making a ‘grand’ artwork is what makes these works precious.

Karen Smith stated in her introduction to Hu Yun’s work: “We encounter Hu Yun’s work and it leaves an impression. This impression takes the form of a question, a lingering curiosity: the artist whets our palette, and we want more. We become determined, consciously or not, to keep this artist in mind, and to learn more about them at the earliest opportunity… Details, then, become paramount; every little gesture speaks volumes about the artistic intention and, more importantly, the ability to achieve that intention through a chosen form of expression.” Hu Yun puts his feeling onto his objects drawn; each of his work has a unique designed frame to match the work by artist himself.

Hu Zi in her words describes her own work: “The form is simple, heavy sexy color, little temperament but big thoughts using the notion of body. Under the absurdity, weirdness, sensitivity, and subconscious of day dreaming, the loneliness and sadness is shown. The works explore the notions of the actual existence of our youth culture: lover, gender roles, pretending, estrangement, naked, balance, drug-taking, homosexuality, power and cross dressing; The wordless ferocity and poetic infatuation flashed between same sexes; The intangible affection among opposite sexes, just like dismantled parts of organs in desolation, murmuring with vain hope.”

Wang Dawei’s works are mostly self portraits with recurring backgrounds, industrial objects, the artist reading and falling airplanes. The black sky is a repressive lingering backdrop as the artist considers the use of black as a rational space to calm down, to grieve, and to contemplate. The self in the work sometimes with companions inhabiting modern cities all appear to be silent, some open their mouths wide but seem cannot speak. People are often set into a combination of empty space and cold objects. Wang Dawei dismisses the civilized industrial products, and questions what is lost during the process of modern development.

Dream is the theme for Mo Di’s art creation. In her bizarre images, the self in reality meets up with the self in her dream. She uses ink wash, acrylic and pencil as media to record her dreams; the brush strokes are odd but confident. Chinese ink wash in her hand becomes very un-traditional yet different from the cartoon work one often sees. The oriental psychological horror hidden in the work travels right into one’s soul but  instantly escapes with the light hearted cartoon look of the shapes.

A girl turning into an adult woman is always the subject in Wang Tingting’s works. She doubts, feeling lonely, helpless, lost, all those fragile moments everyone has at some point in life. She is able to accurately catch these moments in her drawings, with either very simple lines or fulfilled illustrated images. The relationship between her work and the audience is just like the pet found by its ‘person’, once the resonance hits the viewer, the viewer feels the work belongs to him/her.

近几年来,中国当代艺术界出现了一个转换现象,反感以某种既定的“标准”和尺标来名就“中国”艺术家。年轻和新艺术家尤其对于这个现象反应强烈。其中一种对立姿态反映在不单单减少艺术作品的尺幅大小更是减少作品画面的实体大小。再也不是以庞大的姿态出现在完美装裱好的油画布上,相反,可能是非常小的涂抹画在邹邹的纸上,布块,纸巾,随便什么只要是当时在艺术家手上的材料。同时我们也发现了在价值观上的转换,艺术家作品再也不被认为是珍贵的“产品”,而非常讽刺的是,这类作品中的精品又恰恰是以这样的质量,存在于一个脆弱的实体,令人好奇的出发点和珠宝似的作品比例大小,成为珍贵的“产品”。 — 凯伦 史密斯

自言自语是一种最私密的行为方式。

这次参展的艺术家,他们的作品最先都是画给自己的,是与自己的一个交流,可能是抒发对某人的爱慕亦可能是对自身处境的不满,或是对周遭人群亦对自身的批判和反应。于是有感于那种孤独、伤感又或许是甜蜜。他们孤芳自赏、不受他人思想的牵制,这样一种纯粹的创作方式使艺术作品更为独特以及珍贵。

胡昀摇椅,和胡子蓝色凳子巴黎系列里的

凯伦史密斯对胡昀作品的介绍里写到:“他的作品留给人的印象很新颖,在他目前还不多的作品里,蕴含着饶有趣味却让人吊着胃口不断想要知道更多,而导致在日后将不断在第一时间去关注这个艺术家的作品。”胡昀寄情于物,微小的细节诉说着庞大,将一个物件赋予生命然后花大量时间去“艳遇”物件的载体。每个物件的绘画都会有一个艺术家特地设计定制的框为其置所,将作品作为一个整体呈现给观者。

胡子描述她自己作品非常精到:“形式感简约,色彩欲浓重 ,小情趣,大思维 ,都关于身体。在看似荒谬,怪诞,神经质臆想的潜意识,却潜藏着悲情,孤独的情绪. 展示大众和边缘文化下的真实存在:情侣,性别角色,伪装,隔阂,赤裸,依赖体,平衡,吸毒,同性恋,权利,易装癖. 同性间孕育着诗意的暧昧,不语的狰狞,犹如舔血般凄美;异性间流离的,不确定的情念,宛如瓦解的器官零件般孤寂,妄想和自语。”

王大卫的望远镜,莫迪的夜光或发毛或派对1,和王婷婷的你要幸福

王大卫的作品多为自画像,并不断出现工业时代的产物,读书者的姿态以及坠落的飞机。黑色天空的压抑始终挥之不去,艺术家认为黑色为人们创造了理性空间,去镇定,去哀伤,去思索。画面中的自己与身处这个城市的人都沉默不言语,有的张大嘴却也仿佛吐不出一个字。这些人物通常以孤独的形象与周围空旷的环境及冰冷的产物结合。艺术家对工业时代的文明产物不屑一顾,认为更加值得思索的是人类进程中正失去的东西。

梦境是莫頔创作的主题,在她奇异的画面中,现实中的自己和梦境中的另一个自己相遇,她以水墨,丙烯,铅笔绘画方式记录,笔法形体怪异而老练。中国画的水墨在她手里能演化出完全不拘于传统又不同于卡通一代的视觉和笔触;东方神秘感的心理恐惧和似曾相识的卡通人物有趣的结合让作品直抵观者灵魂深处紧接着又悄然逃逸。

王婷婷画面中的主角始终是一个正在转变成女人的女孩,处于岔口的女孩不知何去何从,怀疑、孤独、无助,这些似曾相识的表情都告诉我们这个女孩的真实存在,或许是你身边的某一个她,或许正是曾经的你。她通常以或极简单或极繁满的形式准确抓住一个感觉的瞬间。她的作品和观者的关系就像被遗弃的宠物找到了领养者,使得作品的共鸣者被一种莫名力量吸引而非将其成为心爱的属物不可。