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站台中国于7月27日隆重呈现艺术家叶恒贵同名个展，在A&B展厅饱满呈现其绘画中的活力和持久的动力。展览将持续至9月1日。
叶恒贵以日常所“见”作为绘画的题材和内容。他笔下的众多 “物”，正是其与世界的接触和驻足。最为随处可见的物、景和人事实上或许恰巧是以正当的名义被忽视最多的存在。我们或许都不会给予一处墙面的影子、一个倾空的杯子、一个只余下脖颈处皮肤的背影多一刹那的注视。它们太过于平凡，轻的似乎抛入时代的涌动中就会立刻随风而去。而叶恒贵拒绝这种对于生活的遗忘。他主动选择了这种平凡，并使之成为他在绘画中的恒久动力。生活哪有那么多惊鸿一瞥，更多则是以庸常的眼光拆解着碎屑般的时光。在他的绘画中，这些“物”没有高低贵贱、没有主次之分，平等而相互接纳。它们意味着另一种无拘无束，由不被赋予定义的日常物重新唤起艺术家自内而外的目光。它们内敛而庄重的栖息于绘画之内，清净而伫立，拒绝任何象征或者寓言，让平凡而不凡的物成为绵延的时间。
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Platform China grandly presents the solo exhibition of artist Ye Henggui on July 27th, showcasing the vibrant energy and enduring momentum in his paintings at the A&B Exhibition Space. The exhibition will last till September 1st.
Ye Henggui takes the "seen" in everyday life as the subject and content of his paintings. The many "objects" depicted in his works are precisely his contact and pause with the world. The most common objects, scenes, and people may in fact be the most overlooked existences under the guise of legitimacy. We might not spare a second glance for a shadow on a wall, an emptied cup, or a silhouette with only the skin of the neck exposed. They are too ordinary, light as if they would be instantly swept away by the currents of time. Yet, Ye Henggui refuses to forget about life in this way. He actively chooses this ordinariness and makes it a lasting force in his painting. Life doesn't have so many fleeting moments; more often, it is with a mundane gaze that we dissect the fragmented moments. In his paintings, these "objects" have no hierarchy or distinction, accepting each other equally. They represent another kind of freedom, where everyday objects not given definitions reawaken the artist's gaze from within. They reside within the paintings with restraint and solemnity, standing pure and upright, rejecting any symbolism or allegory, allowing ordinary yet extraordinary objects to stretch into enduring time.
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叶恒贵默默地画了很多物。在2014年至2024年的作品中，我们可以看到叶恒贵绘画手法的推进和变化，看到形式的逐步精简与高度概括，但不变的是物的主题，是稳定的风格调性与时间的永恒感，以及闪烁在物的缝隙之间光影的微妙节奏。
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叶恒贵的物极具形式感，在这些画布上，物的功能和意义被消匿，可以说，叶恒贵所画的不是有关物的知识，而是关于物的形式，以及藏身于形式内部的情感张力。在叶恒贵那里，物品并没有被形式主义地加以分解，没有过多理性的设计与分析的综合，他对这些物的处理反而极为现实，它们都来自艺术家日常的定睛观看，来自绘画之眼的选择和考量，来自“观察者的技术”，这是一种现实观看与现代风格的结合，是并不激进的属于叶恒贵的绘画思考。
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这样的物在叶恒贵那里最终化作了近乎抽象的图像，它们因此既是物的形式也是物本身，一面墙可以既是艺术家眼中的风景也是一幅抽象画，一扇打开的窗户可以同时成为一张画布（绘画即窗户，这又是出自古典艺术与透视法则的比喻）。这些物在形式的挤压下来到了画布的平面，而一张画布便已足够称得上是“一张画”——对于绘画媒介特性的强调，对于形式语言的重视，是来自“现代主义-形式主义”的经典阐释；但更进一步的，叶恒贵的绘画对象被还原至画布的同时，也寻回了物自身的本性，也就是说，是物的身影穿透了纯粹的形式，是绘画之物唤起了绘画本身的物质性：这是福柯在论马奈时所说的“实物-画”（the painting-object），是“作为物的绘画”。
我们在这样的绘画中看到物的自主性，物在此不再作为静物的描绘对象与宏大主题的点缀而存在，它们绝不以自身的功能服务于某个物的使用者，它们因此区别于所有的古典绘画；同时我们也看到物极强的审美属性与形式感，这既带有现代主义的直观色彩，也是现实主义与现代绘画的独特交织，是写实与抽象的交织，甚至说，是大卫·霍克尼与爱德华·霍珀的交织。这些物因此同时属于过去与当下，也同时摆脱了现实、超越了现代，它们通过附着在同样作为物的画布表层，而以一种低调地为自身立法和宣言的方式，朝向了当代视野下“物的转向”。
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作为物的绘画之所以重要，绘画的动力之所以可能成为人生的动力，便在于思考绘画即是思考物，在于绘画以其物质性而与其他事物一起组成了我们整个世界；而在此背景下，在现代生活与社会的割裂状态里，艺术家通过绘画的工作努力将物与物重新连接，将物与人重新连接，也便是重建人之个体与世界的亲密关系。
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叶恒贵不是通过绘画表现对某个具体人物的爱，不是爱着他所描绘的特定对象，叶恒贵终究爱的是绘画本身。这种对于绘画之爱并非作为情感的直接结果，而以流动的过程隐匿在每一个绘画的工序，透露在每一次起笔与落笔的时刻。
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Images copyright © Platform China & Ye Henggui叶恒贵，1962年生于安徽。1989年，毕业于中央美术学院油画系。现工作生活于北京。叶恒贵以日常所“见”作为绘画的题材和内容。他笔下的众多 “物”，恰是其与世界的接触和驻足。在他的绘画中，这些“物”没有高低贵贱、没有主次之分，平等而相互接纳。它们内敛而庄重的栖息于绘画之内，清净而伫立，拒绝任何象征或者寓言，让平凡而不凡的物成为绵延的时间。我们在这样的绘画中看到物的自主性，物在此不再作为静物的描绘对象与宏大主题的点缀而存在。这些物以一种低调地为自身立法和宣言的方式，朝向了当代视野下“物的转向”。绘画的动力之所以可能成为人生的动力，便在于思考绘画即是思考物，在于绘画以其物质性而与其他事物一起组成了我们整个世界；而在此背景下，在现代生活与社会的割裂状态里，艺术家通过绘画的工作努力将物与物重新连接，将物与人重新连接，也便是重建人之个体与世界的亲密关系。而这种“声声慢”式的持续性发展恰是艺术家内心的坚持与强大，亦是绘画中难能可贵的活力和持久的动力。2000 “叶恒贵油画作品展”，中央美术学院画廊，北京Ye Henggui, born in 1962 in Anhui Province.Now lives and work in Beijing. Ye Henggui takes what he "sees" in daily life as the subject and content of his paintings. The many "things" in his works are precisely his contact and stay in the world. In his paintings, these "things" have no hierarchy or distinction, accepting each other equally. They nest within the painting in a restrained and solemn manner, standing clean and upright, refusing any symbolism or allegory, making ordinary but extraordinary things a continuous time. we see the autonomy of objects in such painting, objects are no longer as still life depiction objects and embellishments of grand themes, they do not serve a user of an object with their own function. they legislate and declare for themselves, towards the "turn to objects" in the contemporary perspective.The importance of painting as an object, the possibility of the momentum of painting becoming the momentum of life, lies in thinking about painting is thinking about objects, in painting with its materiality and other things together to form our whole world; and in this context, in the fragmented state of modern life and society, the artist through the work of painting strives to reconnect objects with objects, reconnect objects with people, and it is also to rebuild the intimate relationship between individuals and the world. The "slow and steady" development is a testament to his inner persistence and strength, as well as the precious vitality and enduring momentum in his painting.2024 Ye Henggui, Platform China Contempoary Art Institute, Beijing
2023 Inspire the ordinary, Common Art Center, Beijing2014 Ye Henggui’s works exhibition, Today art museum, Beijing2008 Recreated, Schoeni art gallery, Hong Kong, China2000 Ye Henggui oil painting exhibition, central academy of fine arts gallery, Beijing
