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标题: 境.观--许琦个人作品展 [打印本页]

作者: boyun 时间: 2009-12-21 12:53 标题: 境.观--许琦个人作品展

境·观

许琦个人作品展

主办单位：上海香地艺术中心
策展人：邓亚鸣
展览时间：2009年12月26日—2010年1月8日
展览地点：香地画廊（上海市莫干山路50号3号楼108室）
开幕酒会：2009年12月26日15：00时

Realm of Vision
Solo Exhibition By Xu Qi

Organizer: CHANTILLY ART CENTER
Curator: Deng Yaming
Duration: 26,Dec.2009—8,Jan.2010
Address: CHANTILLY ART CENTER

No.50 Moganshan Rd,3,Rm 108 Shanghai China
Opening: 26,Dec.2009 15:00pm

《平面的诗意》——许琦作品解读

追求真实的三维空间的绘画方式由来已久，画面就象透过一个窗口去看真实的影像，这种虚幻真实的描绘到了19世纪已达到了无以复加的地步。现代艺术的兴起使绘画重新回归了自身的特点，就是它的平面性，这对传统绘画的空间意识是一个颠覆。绘画基本元素的再认识并在二维平面上的重组来表达情感，成为了一种新的自觉。这种平面构成的表现形式由纯艺术拓展到设计领域，又时时反作用于绘画。
对于平面广告设计的兴趣和现代艺术家的一些处理手法，为许琦的油画打开了另一个窗口，这种构成意识自然地融汇在她的油画创作中。许琦不注重对立体物象的塑造与描绘，而侧重于平面形式的构成关系，这种意识在她的写生作品中就显示来了，人体或肖像不是作为主体，而是成为构成中的一个分子出现在画面上。观察的着眼点不同，就形成了不同的空间意识，在这里画家的眼光不是停留在物象本体和向纵深发展，而是在物与物之间做横向的漂移，行走在平面形态的关系之间，并将其结构为一种秩序之网。
对平面元素的敏感，使许琦将目光自然投向了现代都市的各个角落：天空下的楼群，墙壁与街道，上下的阶梯，食堂的桌椅等等，都成为了她作画的素材，从生活中提炼形式来完成绘画自身的逻辑。处理上并不完全摆脱空间，而是把握在一种浅层空间的度上，这使作品没有落入纯粹的形式构成，与观者保留了交流的途经，因而产生了几分熟悉的陌生感。
这是一个单纯宁静的空间，一束光线，一片阴影，沉郁的红色，大面积的空白，一切都流露出一种孤独、忧郁的感觉，这似乎是她性格中的阳光表象的另一个侧面。许琦一度着迷于宗教的神秘感，还画了系列的经幡，这些静止不动的经幡“肖像”却体现出了画者心绪的驿动。对神秘感的兴趣也渗透在她对现代都市生活的感知中，我们从许多画面中都可以感受到画者的心绪和淡淡的诗意，这使二维平面空间中又拓展出了另一个维度：情感空间。
探索形式语言的目的，是为了寻找与心灵的契合点，以达到二者的合一。许琦认为“对现实的描绘不是简单的再现，是表现潜意识中恒久的情感” ，她希望重构秩序之美来证明心灵的真实存在。

天津美术学院造型艺术学院副院长、油画系主任

祁海平教授

2009-12

Poetry of Planarity

The origin of 3D(three dimension) painting, which is in pursuit of reality, can date back from long ago. Looking at such painting is like looking through a window to see the image of reality. Such illusionary way of presenting realty has reached its peak in 19th century. Till the boom of Modern Art, the characteristics of painting itself, planarity, has been brought back, which topple down the space consciousness of the traditional painting. Meanwhile, a new consciousness has been risen, which is recognition of the fundamental elements of painting and expressing sensibility by reorganizing them in two dimensions. This planar form of presentation is stretched its arm from pure art to design area, and often exert influence on painting as well.
Xu Qi’s interest on print advertisement design and representation skills as a modern artist, which are harmonized naturally in her works, open a new way for her oil painting. Instead of shaping and representing the solid image, Xu Qi focuses on building relationship of these planar forms. Such consciousness can be found in her sketch from nature, in which the human figure and portrait do not play a principal role of the painting, but are as small part of it. Different respects of observation leads to diverse space consciousness. Here, the painter looks beyond the image of the object itself and ignores the depth of space. Instead, her sight move transversely between objects, and her mind travel among relationship of planar forms, and in the end, she integrates them into an orderly system.
Due to the sensitivity on planar elements, Xu Qi finds her material of painting from everywhere of the modern city, buildings beneath the sky, walls and street, stairs up and down, tables and chairs in restaurant, and so on. The logic of her painting is made up of these forms from life. However, her works are not completely disregarding of space, but represent it in a more superficial degree. In this way, the structure of her works is kept away from sheer forms, which leaves chances to communicate with audience, and thereby adds a few familiarity upon the strangeness.
It seems to be the second character beside of her optimism, that in this simple and peaceful room of her painting, a beam of light, a piece of shadow, thick and glum red color and large area of blank, are all showing her loneliness and depression. Been obsessed of mystery of religion, Xu Qi has painted a serial works of prayer flag, and the motionless “portrait” of prayer flags reflects the restless heart of painter’s. The favor of mystery also mixed in her cognition of life in the modern city. We can feel the emotion and a little poetry-like mood when looking at many paintings of hers, which develops another dimension in additional of the planar space of two dimensions, i.e. dimension of sensibility.
Seeking the form of art language is to find the linkage to the soul, and finally combining of the two. In Xu Qi’s opinion, “the representation of reality is not simply to reproduce, but express the lasting sensibility”, and by rebuilding the order of art, she hopes to prove that soul does really exist.

By Professor Qi Haiping

Deputy Dean of Plastic Arts and Faculty Director of Oil Painting

Tianjin Academy of Fine Arts

Dec 2009

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