地址｜Address
中国上海莫干山路50号6号楼105
Rm 105, Bldg 6, 50 Mo Gan Shan Rd, Shanghai
文 / Chie Fueki
王行云的纸上作品描绘了动人的抽象地形；是既有物质性又有图像性的心理景观。从物质性来说，作品细致地阐释了将纸张粘合重叠进行打磨、擦拭、穿刺和刮擦的过程，并且在厚水彩纸基底上层层铺叠纤巧的薄纸来塑造出涟漪起伏的波纹质感。王行云将材料的物质性视为可协作的主体，创造出纸张于着色的胶水间纵横交迭的奇妙变化。她的创作过程像是一场有形的博弈，并在作品上落下了层层印迹。
当作品被垂直悬挂时——即当它们从平铺着的无序形态闯进我们的视线时——它们成为了一副副心理地形图。她的作品中包含了复杂的图像符号: 女性身体、具有中国风景画特色的自然景观、气候现象、运动中的微生物、宇宙天体，以及远古水域中晦涩的变化。
王行云
反向观山
2023
墨水、水彩、色粉、胶水、丙烯、石墨、头发、沙子、纸
106.68 x 236.22 cm
Xingyun Wang
Seeing A Mountain from Antipode
2023
Ink, watercolor, soft pastels, glue, acrylic, graphite, hair, sand, paper on paper
106.68 x 236.22 cm
王行云的作品尺幅较大，观看时常感觉像被墙上的作品吞没并包围住。譬如在欣赏大尺幅作品《红线》（2024）时，观众可以采用（从右至左）阅读卷轴的观看次序来阅读作品中的叙事空间。当然，也可以肆意自在地捕捉作品画面，好像是在追寻星罗棋布的幽灵之手。
王行云的作品极具个人色彩，观众被带入充满碎片回忆和预言的梦幻舞台。然而，这些图像却从未彻底凝聚成明晰的意义；相反，我们看到的是模糊的色块与轮廓——这也是我们自身在形成清晰独立的主体认知之前，对于想象的最原始感知。
王行云
红线
2024
墨水、水彩、胶水、丙烯、彩色铅笔、石墨、玻璃粉、色粉、沙子、头发、纸
152.4 x 208.28 cm
Xingyun Wang
Threads of Fate
2024
Ink, watercolor, glue, acrylic, color pencil, graphite, glass flakes, soft pastels, sand, hair, paper on paper
152.4 x 208.28 cm
Xingyun Wang’s recent works on paper are arresting, abstract topographies; landscapes that are both material and graphic. As matter, the works diagram elaborate processes of sanding, rubbing, puncturing, and scratching with layered paper and adhesives. Their rippling textures are produced by layering delicate tissues over a thick, watercolor-paper substrate. Wang considers material behaviors as collaborative agents. She responds to the alchemical movements of paper as its warp and weft melt into- and resist the viscosity of pigmented glues. Her process is a corporeal struggle that leaves traces in the strata of her works’ surfaces. When the works are hung vertically—that is when they move from the horizontal or the realm of the formless to the optical—they can be read as graphic maps. In her pieces one reads a complex semiotics comprised of: female bodies, nature seen through the lens of Chinese landscape traditions, weather events, microscopic entities in motion, celestial objects, and obscure transformations in primordial bodies of water. 王行云
无题5
2024
墨水、水彩、丙烯、石墨、纸
18 x 30.5 cm
Xingyun Wang
Untitled 5
2024
Ink, watercolor, acrylic, graphite, paper on paper
18 x 30.5 cm
The scale of Wang’s works are monumental with paper exceeding the length and width of human bodies. One is engulfed in- and embraced by- their presence on the wall. Reading pieces such as the massive Threads of Fate (2024), we read the narrative space of scrolls (from right to left). However, one also falls or floats from the bottom to the top of the image; as do a scattered-flock of ghostly hands.
Xingyun’s works are highly personal, and the viewer is invited into dream-like arenas of fragmented memories and premonitions. However, such images never fully coalesce into clear signification. What we see instead are color-fields and blurred outlines—the raw sense-data of the imagination in the moments just before one’s mind transforms them into the crystalline, discrete objects of cognition.
王行云
无题6
2024
墨水、水彩、丙烯、石墨、纸
24 x 20 cm
Xingyun Wang
Untitled 6
2024
Ink, watercolor, acrylic, graphite, paper on paper
24 x 20 cm
王行云：无形身体
文 / 朱利安·克莱默
犹如耶罗尼米斯·博斯的梦境般的幻世图景、亦如遥远的元代文人归隐避世的秘密花园，王行云的作品将包罗万象的心理风景融合在一起，形成了一个感知空间里的多彩世界。
她的作品在纸张之间嵌入了各式各样的细微印迹 —— 手印、发丝、砂砾 —— 像是层叠的皮肤纹理和埋藏着的考古地层，亦像是我们纷繁的思绪，随着时间的推移日渐模糊，却也在新的层层经验之下混沌存在。
大幅作品中暧昧不明的大面积色块指向了一种身体地形，蔓延开来的静脉和具有象征意味的切片揭开了鲜红色的内部图影, 而柔软的手指则像是在摸索着被切开的伤口。在画面的最表层，王行云添加了细致微小的笔触，犹如细小的肢体汗毛，或是小草，这些象征性的图影纵横交错地出现在被层叠粘合的褶皱表面。画面中弥漫着混杂的液体和胶水，和那些精心编织的线条和图影一齐，翩翩漫舞。
王行云
住所III
2023
墨水、水彩、石墨、纸
139.7 x 213.36 cm
Xingyun Wang
Dwelling Places III
2023
Ink, watercolor, graphite, paper on paper
139.7 x 213.36 cm
观看王行云的作品，亦像是一次有关身体的探寻；探寻自身，亦探寻他人。作品中的画面是私密的，像是从恋人的目光里所看到的层叠的皱纹，还有近距离的身躯。有一双狭长的眼睛在注视着，似乎是从肉体本身浮现出来，监视着有关于情欲的超我。有别于大尺幅作品的整体性关注，王行云的小尺幅作品则包含了丰富的图像构建与拼贴。一对球茎状的草莓/萝卜长出了长毛，由一截纤细的并被毛发包裹的红茎相连——它清楚地勾勒出一个女性头颈图影的余白空间，却也更有指向性地暗示了某种私密器官。物体的形状与可识别性在作品中发生了转变：星空下，一双腿静静地站在被抽象化的织网后面；而在另一幅画面中，一个无头的巨人从水中浮现，仿佛是戈雅画作中奔跑在巨人脚下的人物。像乔治亚·欧姬芙的作品一样，植物和人类器官之间的界限亦在王行云的作品中消失了，它们饱满而充满活动的形态变得更为迷人而不可思议。如果说欧姬芙的作品充满了灵性，那么王行云的创作则更为朴实：就像莎士比亚笔下的故事，深刻而幽默，尘土中亦有神旨。性、死亡，以及介于这两者之间的一切，都所属于这个世界。王行云
无题1
2024
墨水、水彩、丙烯、纸
25 x 28 cm
Xingyun Wang
Untitled 1
2024
Ink, watercolor, acrylic, paper on paper
25 x 28 cm
Xingyung Wang: The Air Is Also a Body
Text / Julian Kremer
As close to the nightmarescapes of Hieronymous Bosch as the inner-gardens of disenfranchised Yuan-era scholars, Xingyun Wang’s new works stew together all-encompassing landscape studded with tiny incidents of flora and fauna into multichromatic worlds of sentient space.
These new works embed traces—handprints, hairs, detritus, between sheets to create analogues--our layered skin, of buried archeological layers, of our thoughts, blurred over time, but murkily present underneath newer strata of experience.
Large areas of slippery color reveal references to bodies: submerged veins and metaphorical slices revealing blood-red interiors, while fingers probe incisions that may be wounds or orifices. Atop the final surface, Wang adds tiny brushstrokes that might be tiny armhairs catching sunlight, or grass, letting the suggestive marks criss-cross the folds and pleats of the glued surfaces below, less an opposition than a dance between her hands directing chaotic fluids and glues and the more considered lines and shapes on top.
王行云
无题8
2024
墨水、水彩、纸
18 x 14.5 cm
Xingyun Wang
Untitled 8
2024
Ink, watercolor, paper on paper
18 x 14.5 cm
The paintings present references to bodies probing (probing oneself, probing another). The view is intimate, not the voyeuristic distance of bodies on display, but the messier creases and foci of bodies close together, seen from the perspective of lovers intertwined. Often, a narrow pair of eyes looks on, seeming to emerge from the flesh itself, like a self-policing erotic superego.
The smaller works replace the overall, oceanic world with more graphic imagery, often collaged on. A bulbous pair of strawberry/radishes sprouting long hairs connect across a thin red bridging line, itself wrapped with short, wiry hairs—the associations with organs and erogenous zones more apparent than the fact that the red shape tidily frames a negative space of a woman’s head and neck. The scale and recognizability of objects shifts suddenly: below a galaxy a pair of legs stands daintily behind abstract netting, in another drawing a headless colossus emerges from water, tilting sideways like Goya’s dark painting of tiny figures fleeing below a mountain-sized giant.
As in Georgia O’Keeffe, the border between plants and human sex organs vanishes, lusty shapes doubling as credible flora. If the mood in O’Keeffe’s work is often a vast spirituality, Wang’s paintings are much earthier: as in Shakespeare, humor sits alongside profundity, a combining of earth and spirit into a pantheistic unity. Sex, death, and everything in-between are part of this world.
王行云
无题9
2024
墨水、水彩、纸
21 x 27.5 cm
Xingyun Wang
Untitled 9
2024
Ink, watercolor, paper on paper
21 x 27.5 cm
王行云1997年出生于北京，现居纽约。通过纸上绘画，她的抽象作品深入探讨了女性主义、 酷儿文化和跨文化体验，提供了关于个人和心理叙事的深刻探索。王行云的艺术过程涉及将 薄薄的纸张层叠起来，形成脆弱性与韧性之间交错纹理的表面，创造出反映身体与景观之间 微妙互动。
王行云在多个展览中展出了她的作品。她近期的展览包括在中国上海的 BROWNIE Project 举办的个展“毛刺时间”(2024年); 中国杭州的Zian Gallery举办的 “江湖: 中心的离散”(2024年); 在纽约 Hunter College的 “Thank God Every Day That the Whole House Did Not Burn Down”(2023年);在纽约布鲁克林的Bob’s Gallery的 “I Want Enough Luck”(2023年); 在纽约 205 Hudson Gallery 的“Terrible Terrible”(2023年); 在布鲁克林的Pierogi Gallery的 “Pulp”(2022年); 以及在马萨诸塞州波士顿的 Piano Craft Gallery的 “Forbidden Fruit"”(2021年)。王行云曾在巴德学院学习，并在纽约州立大学帕切斯学院获得了美术学士学位(2021年)。她目前是亨特学院美术硕士候选人(2022-2025 年)。
Xingyun Wang (b. 1997) is a New York-based Chinese artist, specializing in the transformative use of paper as her primary medium. Her abstract works delve into the realms of feminism, queerness, and intercultural experiences, offering a poignant exploration of personal and psychological narratives. Wang's artistic process involves layering thin sheets of paper, creating textured surfaces that reflect the nuanced interplay between body and landscapes; vulnerability and resilience.
Wang has showcased her works in various exhibitions. Her recent exhibitions include "glitch" at BROWNIE Project, Shanghai, China (2024); "Jianghu: The Discrete Center" at Zian Gallery, Hangzhou, China (2024); " Thank God Every Day That the Whole House Did Not Burn Down" at Hunter College, NY, NY (2023); "I Want Enough Luck" at Bob’s Gallery, Brooklyn, NY (2023); "Terrible Terrible" at 205 Hudson Gallery, NY, NY (2023); "Pulp" at Pierogi Gallery, Brooklyn, NY (2022); and "Forbidden Fruit" at Piano Craft Gallery, Boston, MA (2021). Xingyun Wang studied at Bard College and received her BFA at SUNY Purchase (2021). She is currently an MFA candidate at Hunter College (2022-2025).
Chie Fueki
Chie Fueki生活和工作于纽约州比肯市。Fueki出生于日本横滨，在巴西圣保罗长大。她在耶鲁大学获得艺术硕士学位, 在瑞玲艺术与设计学院获得艺术学士学位。她是首届琼·米切尔奖学金（2021）、约翰·西蒙·古根海姆纪念基金会奖学金(2022)、犹他州当代艺术博物馆凯瑟琳·多克托罗当代绘画奖(2023)和帕切斯奖(2004和2021)和美国艺术与文学学院颁发的罗森塔尔家庭基金会奖(2004)的获得者。她将于KinoSaito开展艺术家驻留，并将在纽约KinoSaito举办由大卫·罗斯策展的个展 “Chie Fueki: 抵达抽象”(2024)。她最近的个展包括：犹他州当代艺术博物馆，犹他州盐湖城(2023)； DC Moore画廊, 纽约, 纽约州(2022); Pamela Salisbury画廊, 哈得逊，纽约州(2023); Shoshana Wayne画廊, 洛杉矶, 加利福尼亚 (2005, 2008, 2013, 2023); Mother画廊，比肯，纽约州(2020); Mary Bonne画廊, 纽约，纽约州(2006, 2011); Bill Maynes画廊, 纽约, 纽约州（2002, 2003); 奥兰多美术馆，佛罗里达(2014)。她的公共艺术作品在纽约皇后区PS 92Q和HHS Lerner儿童馆展出。她的作品被华盛顿赫希洪博物馆、得克萨斯沃斯堡现代艺术博物馆、波士顿美术馆、奥兰多美术馆、旧金山现代美术馆、圣何塞美术馆、哥伦布美术馆Pizzuti收藏和犹他州美术馆收藏。
Chie Fueki lives and works in Beacon, NY. Fueki was born in Yokohama, Japan, and raised in São Paulo, Brazil. She earned her MFA at Yale University and her BFA at The Ringling College of Art and Design. She is an inaugural recipient of the 2021 Joan Mitchell Fellowship and a recipient of the John Simon Guggenheim Memorial Foundation Fellowship (2022), the Catherine Doctorow Prize for Contemporary Painting (2023) from the Utah Museum of Contemporary Art, and the Purchase Prize (2004, 2021), and Rosenthal Family Foundation Award (2004) from the American Academy of Arts and Letters. She is a future resident artist at the KinoSaito Residency Program, and has a forthcoming solo exhibition, Chie Fueki: Arrivals in Abstraction, curated by David Ross, at KinoSaito, Verplanck, NY (2024). Recent solo exhibitions include: Utah Museum of Contemporary Art, Salt Lake City, UT (2023); DC Moore Gallery, New York, NY (2022); Pamela Salisbury Gallery, Hudson, NY (2023); Shoshana Wayne Gallery, Los Angeles, CA (2005, 2008, 2013, 2023); Mother Gallery, Beacon, NY (2020), Mary Boone Gallery, New York, NY (2006, 2011); Bill Maynes Gallery, New York, NY (2002, 2003); Orlando Museum of Art, FL (2014). She has public artwork at PS 92Q, Queens NY, and HHS Lerner Children Pavilion, New York, NY. Her work is included in permanent collections of the Hirshhorn Museum, Washington, D.C.; Modern Art Museum of Fort Worth, TX; Museum of Fine Arts, Boston, MA; Orlando Museum of Art, FL; San Francisco Museum of Modern Art, CA; San Jose Museum of Art, CA; The Pizzuti Collection at Columbus Museum of Art, OH; and the Utah Museum of Fine Arts, UT.
朱利安·克莱默是一位艺术家、评论家，也是纽约州立大学帕切斯学院绘画和艺术史系副教授。他的作品曾在1969画廊、2021年军械库展、Morgan Lehman画廊、TSA洛杉矶、Lux Art Institute(加利福尼亚)和Weeknights画廊(布鲁克林)展出，并受到Art in America，Hyperallergic和Artcritical等艺术出版物评论。他曾多次参加Yaddo和MacDowell驻留，荣获2018年NYFA绘画奖。2004年到2020年间，他数次为Art in America撰稿，并为Paper Monument, Tablet, Hyperallergic, Modern Painters以及众多博物馆目录撰写文章。
Julian Kreimer is an artist, critic, and associate professor of Painting and Art History at SUNY Purchase College. His work has been exhibited at 1969 Gallery, the 2021 Armory Show, Morgan Lehman Gallery, TSA LA, Lux Art Institute (CA), and Weeknights Gallery (Brooklyn), and has been reviewed in publications such as Art in America, Hyperallergic, and Artcritical. He has attended multiple Yaddo and MacDowell residencies and won the 2018 NYFA painting award. From 2004-2020, he was a frequent contributor to Art in America, and has written for Paper Monument, Tablet, Hyperallergic, and Modern Painters, as well as numerous museum catalogs.
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