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
BROWNIE Project 画廊欣然宣布于2024年4月6日（周六）呈现艺术家王行云个展「毛刺时间」。
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。”
——Chie Fueki, 美国亨特学院客座兼职教授
“我使用颜料胶将薄纸铺叠在厚水彩纸上，制作出有纹理的表面。我通常是在地板上工作，不断拉扯和推移潮湿的纸张，并在周围附上胶水，这是一个具有身体性的、材料偶然性的触觉绘画过程。薄纸和厚纸之间的相互作用产生了半透明的分层纹理，像是奔腾的洪水、废墟里的残垣、皮肤和伤疤。然后我将作品挂在墙上，用其它材料不断地添加各种印记，编织出一场由多种观点及视角构成的心理叙事景观。
作品中柔和的色调隐匿着危险和灾难。滴落的颜料、微小的孔洞、被打磨得摇摇欲坠的纸片、嵌入画面的缕缕发丝和眼睛中的玻璃鳞片皆是其中的景观。这片描绘的空间隐蔽处，每个角落看起来都危机四伏，在这股不断作用着的汹涌的力量之内，漫出一股深深的无力感。
王行云
约束
2023
墨水、水彩、色粉、胶水、丙烯、石墨、头发、沙子、纸
248.92 x 421.64cm
Xingyun Wang
Confinement
2023
Ink, watercolor, soft pastels, glue, acrylic, graphite, hair, sand, paper on paper
248.92 x 421.64cm
然而，在这无力的景观中，存在着抵抗的力量。转换视角，一团彩色的薄雾，初看是一座山的影子，再远观变成一张女人的脸，沉浸在画面中耐心等待着、凝望着。在这里，也好像栖息着一具身体，又或是身体的印记。猩红色的痕迹，暗示着深藏于皮肤之下的伤痕。还有些痕迹，像是眼睛的切口，凝视着的目光成为了皮肤上最令人痛苦的伤口。这些眼睛见证并记录了一切，洪水、混乱和噪音，在叙事中化作一股沉默而坚韧的力量。
作为一名酷儿女性，成长在一个需要将其掩盖的环境中，我感受到过深刻的恐惧和无助，却缺少抵抗。对我来说，绘画是一种记录方式，而纸张则逐渐成为一种隐喻，成为一个脆弱但坚韧的、能够适从的本体。我可以撕裂它、裁剪它、打磨它、清洗它、在它身上打洞，但它依然不屈不挠，保持它的形态，并悉心记录下所有过往和变迁。纸张层叠掩映，而底层始终模糊不明。在纸的世界，记忆是持久的，材料本身即是坚韧的证明。纸会记得。”
(文/王行云）
秘密
2023
墨水、水彩、胶水、色粉、丙烯、彩色铅笔、石墨、头发、沙子、纸
139.7 x 198.12 cm
Xingyun Wang
Secret
2023
Ink, watercolor, glue, soft pastels, acrylic, color pencil, graphite, hair, sand, paper on paper
139.7 x 198.12 cm
BROWNIE Project is pleased to present artist Xingyun Wang's solo exhibition 「glitch」, on view from April 6, 2024.
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."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. "-- Chie Fueki,Visitng Adjunct Professor, Hunter College
王行云
无题1
2024
墨水、水彩、纸
25 x 28 cm
Xingyun Wang
Untitled 1
2024
Ink, watercolor, paper on paper
25 x 28 cm
“I apply pigmented glue to layer thin sheets of paper onto thick watercolor paper, crafting a textured surface. Working on the floor, pushing the paper when wet and moving the glue around, is a tactile process of drawing with bodily and material contingencies. The interplay between thin and thick papers creates a stratified texture of semi-opaque layers, conjuring images of: engulfing floods, the remnants of landscape in ruins, skin, and scars. Mounting the work on the wall, I then accumulate small marks with other materials, weaving together a narrative and psychologically charged landscape comprised of multiple viewpoints and perspectives.
The subdued tones in the work hint at peril and the aftermath of calamitous events. Paint drips, perforated holes, paper sanded away barely hanging on, strands of embedded hair, and glass flakes in the eyes are among elements in these landscapes. In every recess of the depicted space, danger appears to linger, instilling a profound sense of powerlessness in response to the tumultuous forces at play.
However, amid the depicted realm of powerlessness, there is the sinew of resistance. Perspectives and scales shift, revealing that a mist of color, initially a shadow of a mountain, becomes the face of a woman when viewed from a distance, patiently waiting and gazing back from this immersive scale. Here, a body or an imprint of a body dwells in the space. The scarlet marks, in their evocative presence, hint at more than mere skin-deep wounds and scars. The marks signify incisions of the eyes, where the gaze becomes the most poignant cut upon the skin. These eyes have witnessed and documented everything, the flood, the chaos, and the noise, incarnating a silent yet resilient force within the narrative.
Coming of age as a queer woman in an environment where queerness must be veiled, I gleaned abundant lessons in fear and helplessness, yet scant insight into resistance. For me, painting is a means of recording and paper emerged as a stirring metaphor, embodying a delicate yet robust and adaptable essence. I can tear it, cut it, sand it, wash it, punch holes in it, and still, it perseveres, maintaining its form and meticulously chronicling all histories and transformations. Layers of paper veiled on top, yet the base layer is still present opaquely. In the realm of paper, memories endure, and the material itself becomes a testament to resilience. Paper remembers. ”
王行云
无题2
2024
墨水、水彩、纸
23 x 18 cm
Xingyun Wang
Untitled 2
2024
Ink, watercolor, paper on paper
23 x 18 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).
