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在这个充满生机与挑战的时代,艺术以其独特的方式回应着现实的呼唤。上海喜玛拉雅美术馆于10月27日推出《龘——卓福民、周仕超、耿耿当代艺术三个展》,这场展览汇聚三位杰出艺术家心路历程与对时代挑战的艺术回应。
In our modern society full of vitality and challenge, art is responding to reality in ever-changing ways. On October 27th, Shanghai Himalayas Museum of Art launched "Da - Contemporary Art Exhibition by Zhuo Fumin, Zhou Shichao, and Geng Geng", which brings together the spiritual journeys of three outstanding artists and their inspirational reactions to the burning issues our societies are facing today.
本次展览以“龘”为主题,这个在中国传统文化中象征着三条龙的汉字,寓意着群龙飞舞、势不可挡的群体力量。
展览由卓福民的《拓》、周仕超的《逸》和耿耿的《涤》三个个展组成,它们各自独立又相互呼应,共同构成了一个丰富多彩、深邃广阔的艺术空间。
The exhibition is themed around "龘" a Chinese character that symbolizes three dragons in traditional Chinese culture, implying the powerful and unstoppable force of a group of dragons dancing in the sky.
The exhibition comprises three individual exhibitions: Zhuo Fumin's "Top-open" Zhou Shichao's "Ease" and Geng Geng's "DI" .
While standing independently, they also compliment each other creatively, collectively forming a profound and enriching artistic space.
卓福民的《拓》,以其独特的艺术语言和鲜明的个人风格,展现了他从拓荒者到开拓者的转变。
Zhuo Fumin's "Top-open" exhibits his transformation from a pioneer to an explorer through his unique artistic language and distinctive personal style.
卓福民,作为一位横跨艺术与投资领域的杰出人物,他的创作不仅展现了他深厚的艺术功底,更反映了他对生命、社会及时代的深刻洞察。他的人生经历丰富,从工人到官员,再到企业家和风险投资家,这些身份的转变为他提供了丰富的素材和灵感。他在繁忙的投资工作之余,从未放弃对艺术的追求,这种跨界融合的经历使他的作品充满了生命的张力和时代的印记。
Zhuo Fumin, an outstanding figure spanning both the arts and investment fields, showcases not only his profound artistic skills in his creations but also his deep insights into life, society, and the times.
His life experience is rich, transitioning from a worker to an official, then to an entrepreneur and venture capitalist. These identity shifts have provided him with abundant material and inspiration. Despite his busy investment work, he has never abandoned his pursuit of art. This cross-disciplinary fusion has infused his works with vitality and the imprint of the times.
本次展览中还展出了他利用AI技术进行的创新型创作,展示了他对艺术与科技的开拓精神。他的作品诉说着他对生命的热爱和对艺术的执着追求。在这里,你将感受到他那种不屈不挠、勇往直前的精神力量。
In this exhibition, he will also exhibit his innovative imagination utilizing AI technology, showing his pioneering spirit in art and technology. His works tell us his love for life and his persistent pursuit of art. Here, you will feel his indomitable and courageous spirit.
周仕超的《逸》,则以其超脱世俗、追求自在的艺术境界而引人入胜。他的作品反映了内心与现实世界的微妙距离,追求着一种高逸、逸格的艺术境界。
Zhou Shichao's "Ease" is fascinating for its transcendence of the mundane world and pursuit of a free artistic realm. His works reflect the subtle distance between the inner world and the real world, pursuing a lofty and elegant artistic realm.
周仕超自幼对艺术有着浓厚的兴趣,1989年毕业于山东艺术学院设计系壁画专业,这为他的艺术创作打下了坚实的基础。他的画作介于抽象和具象之间,通常以细碎的笔触结构起一种宏大的气象,以半抽象的方式将日常身边的景物纳入画面。这种介于清晰与模糊之间的绘画形式,让人在欣赏时既能感受到画面的具象内容,又能体会到其中蕴含的抽象意味。
Zhou Shichao has had a strong interest in art since childhood. He graduated from the Mural Painting Department of the Design Department of Shandong University of Arts in 1989, which laid a solid foundation for his artistic creation.
His paintings are between abstract and concrete, often using fine brushstrokes to create a grand atmosphere, incorporating everyday scenes into the picture in a semi-abstract way.
This painting form, which is between clarity and ambiguity, allows people to feel both the concrete content of the picture and the abstract meaning contained in it when they appreciate it.
周仕超善于从自然和生活中汲取灵感,但他并不满足于简单的描摹,而是通过自己的艺术语言对景物进行再创造。他的画面色彩丰富,总是能在自然之外找到属于自己的色彩体系。这种对色彩的独特运用,使得他的作品充满了神秘和梦幻的色彩,仿佛能引领观众进入一个又一个神奇的梦境。观赏周仕超的作品,你能感受到他那种内敛、平静而又不失激情的艺术魅力。
Zhou Shichao is good at drawing inspiration from nature and life, but he is not satisfied with simple depiction, but rather re-creates the scenery through his own artistic language. His paintings are rich in color, and he always finds his own color system outside of nature.
This unique use of color makes his works full of mystery and dreamlike colors, as if leading the audience into one magical dream after another. When you appreciate Zhou Shichao's works, you can feel his artistic charm of being restrained, calm and passionate.
耿耿的《涤》,则以其深邃而纯净的艺术表现,让人为之动容。他的作品善于把握艺术与现实的关系,用艺术的方式洗涤着人们的心灵。
耿耿的创作体裁是自然心像和个体自由想象。艺术无所不在,创作依循灵感,将自我的精神置于一个“空”的状态,让其自由感受源于自然、现实与人文的情景,自然触发,使其生出生命的光彩。一种由内而外的净化与升华,感受到艺术对于人类精神的滋养与抚慰。
Geng Geng's "DI" is deeply touching with its profound and pure artistic expression. His works are good at grasping the relationship between art and reality, and use artistic methods to appeal to people’s hearts.
Geng Geng's creative genre is natural imagery and individual free imagination. Art is everywhere, and creation follows inspiration. The spirit of the self is placed in a state of "emptiness", allowing it to freely experience scenarios derived from nature, reality, and humanities.
Natural triggers enable it to produce the brilliance of life. A kind of purification and sublimation from the inside out, feeling the nourishment and comfort of art for the human spirit.
他大型装置艺术作品犹如宇宙的黑洞吞噬茫茫的夜色,并随着神秘的音乐震撼灵魂,光与影的骤然绽放以及即兴的舞蹈表演,瞬间将气氛推向高潮。那如幻如真的场景,让每一位观者都沉浸其中,深切地感受到艺术所具有的无限可能。它仿佛是一把神奇的钥匙,开启了人们对未知世界的探索之门,引领着人们在艺术的浩瀚宇宙中自由翱翔,去追寻那些隐藏在表象之下的深刻内涵和无尽魅力。
His large-scale installation art works are like black holes in the universe, devouring the vast night, and shocking the soul with mysterious music. The sudden bloom of light and shadow and impromptu dance performances instantly push the atmosphere to a climax.
The scene, as real as it is, immerses every viewer in it and deeply conveys the infinite possibilities of art. It is like a magical key that opens the door to people's exploration of the unknown world, leading people to freely soar in the vast universe of art, and to pursue the profound connotation and endless charm hidden beneath the surface.
三个展览不仅是对三位艺术家个人创作历程的深刻呈现,更是一个时代现实缩影的写照。它们以艺术的形式回应着时代的挑战,用独特的视角和深刻的思考,引领我们走进一个充满无限可能的艺术世界。在这里,你将看到艺术家们如何用他们的才华和热情,创造出一个又一个令人惊叹的艺术作品;你将听到他们内心深处的声音,感受到他们对生命、现实和艺术的深刻感悟;你将体验到艺术带来的震撼与感动,见证艺术在当下的无限可能。
The three exhibitions not only present the profound creative process of the three artists, but also reflect the reality of an era. They seek to react to and address many of the concerns and pressures of our current world and lead us into a future filled with possibilities and optimism.
Here, you will witness how artists, with their talent and passion, create one breathtaking artwork after another; You will hear their inner voices and feel their profound insights into life, reality, and art; You will experience the shock and excitement brought by art, and witness the infinite possibilities of art in the present.
聚 焦 采 访
对 话 卓 福 民
Zhuo Fumin
Q:从早期的写实风格到后来的抽象表达,能否谈谈您在创作过程中是如何形成这种风格演变的?
Moving from your early realistic style to your later, more abstract expression, can you talk about how you underwent this style evolution during your creative process?
《沧海之光》,2002,布面油彩,95x70cm
A: 我从小喜欢画画,早年在上海市美术学校学习时学的就是俄罗斯(前苏联)的写实风格,那时还没有改革开放,我们对外部世界的了解也很有限。2002年我离开体制做创投,真正跃入了市场经济的汪洋大海,那时心情是很复杂的。我希望用艺术的形式来进行表达,我第一个想起的就是抽象画,第一个想模仿的就是赵无极。这就是我创作第一幅抽象画的背景,这幅油画《沧海之光》当年就挂在我在祥峰中国投资公司总裁办公室里,为这幅画我又配了一首诗来表达我当时的心情:深邃的蓝/看不见底/风云漫卷/暗流涌动/前路漫漫/远方天际/几抹亮色/正在顽强/跃动/—片暖红/若隐若现/昭示了/绚丽明天。
I have loved painting since I was a child. When I studied at the Shanghai Art School in the early years, I learned the realistic style of the former Soviet Union in Russia. At that time, there was no reform and opening up, and our understanding of the outside world was very limited.
In 2002, I left the system to do venture capital, and really jumped into the vast ocean of market economy. At that time, my mood was very complicated. I hope to express myself through artistic forms.
The first thing that comes to mind is abstract painting, and the first person I want to imitate is Zao Wou-ki. This is the background of my first abstract painting. The oil painting "The Light of the Sea" was hung in the office of the president of Xiangfeng China Investment Company. I wrote a poem to express my feelings for this painting.
《裂变 01 号》,2023,布面丙烯,216 × 280 cm
《裂变 02 号》,2023,布面丙烯,216 × 280 cm
比较彻底的完成抽象风格转变的是在我去年的个展《无界》中展示的新作品,是我对自己以往的绘画风格进行“清零重启”,“无界”系列作品介于抽象和具象之间。在创作中某一天,我突然有一种冲动,想表达核能裂变中链式反应的那种震撼和巨大的张力,而用画笔很难表达,我当时拿了几罐丙烯颜料跳起来全力向画布砸下去,从而有了“裂变”系列1号和2号。今年这一次的《拓》个展,我不仅对裂变系列做了扩展,而且还创作了无垠系列。
The most thorough representation of the transformation of my abstract style could be seen in my new works displayed in the solo exhibition "BOUNDLESSNESS" last year.
It was a "reset" of my previous painting style, and the "BOUNDLESSNESS" series of works are between abstract and figurative. One day during my creative process, I suddenly felt an urge to express the shock and tremendous tension of the chain reaction in nuclear fission, which is difficult to express with a paintbrush.
At that time, I took several cans of acrylic paint and jumped up to smash them down onto the canvas with all my strength, resulting in the creation of the "Fission" series No. 1 and No. 2. For this year's solo exhibition of "Top-Open", I not only expanded the "Fission" series but also created the "Infinity" series.
《无垠系列之一》,2024,布面油画 拼贴,150 × 120 cm
Q:您的作品中展现了丰富的绘画性和实验精神,尤其是最新作品中以刀代笔的创作方式。请问这种创作技法是如何产生的?您在创作过程中还有哪些其他的实验和探索?
Many of your works show a rich experimental spirit, and we particularly admire the creative methods in your latest works. How did this technique come about?
What other experiments and methods do you apply in your creative process?
《无垠系列之二》,2024,布面油画 拼贴,150 × 120 cm
A: 在我此次个展中,有21件架上绘画作品,3件瓷板作品和F.M AI™️艺术创新实验室。个展真正的亮点在于名为“拓”的作品系列,既含开拓之意,又借用了书法中拓片的技术。年初,我在青岛灵璧石博物馆被灵璧石上的宇宙般纹理深深震撼。这些石头源自4至8亿年前的安徽灵璧县,其中带有白马纹的更是稀少,仅存约2000方。明代画家吴斌的《十面灵璧图卷》虽创高价,却仅描绘了一方石头的形态。我意识到,灵璧石的独特在于其纹理。于是,我灵感突发,决定用传统拓片方式捕捉这些纹理,并融入当代艺术。此次展览中,十一幅作品均融合了灵璧石的皱皴肌理。这次创作源于瞬间的灵感,若能让观众感到共鸣与好奇,我便心满意足。
In my solo exhibition this time, there are 21 paintings on display, 3 porcelain pieces, and F M AI ™️ Art Innovation Laboratory and the true highlight lies in the series named " Top-open ", which not only signifies exploration but also borrows the technique of rubbing from calligraphy.
Earlier this year, I was deeply moved by the cosmic-like textures on Lingbi stones at the Lingbi Stone Museum in Qingdao. These stones originate from 4 to 8 billion years ago in Lingbi County, Anhui Province, and among them, those with Baima (white horse) patterns are particularly rare, with only about 2,000 pieces in existence.
The “Ten Views Of A Tingbi Rock” scroll by Ming Dynasty painter Wu Bin fetched a high price, yet it only depicted a single stone's form. I realized that the uniqueness of Lingbi stones lies in their textures. This sudden inspiration led me to capture these textures using the traditional rubbing technique and integrate them into contemporary art.
In this exhibition, eleven works all incorporate the wrinkled textures of Lingbi stones. This creation was sparked by a momentary inspiration, and if it can evoke resonance and curiosity among viewers, I will be content.
观众参与F.M AI™️艺术创新实验室出品的AI作品
F.M AI™️艺术创新实验室 ,让大众通过语音的输入,让AI创作出你所要的油画等作品。Slogan 是“你的点线,我的方圆;你的色彩,我的发现”,用更通俗的话来说:“你会说就会画”。开展仅二、三天,就有1000多人次的观众参与实验。在现场,大多数自称没有艺术细胞的观众通过自己语音的输入,获得AI辅助创作的艺术作品,兴奋的不得了,这个就是艺术生活化,生活艺术化。实际上当代艺术在相当程度上就是一个实验艺术。
F.M AI™️ Art Innovation Laboratory allows the public to create oil paintings and other works through voice input and AI. The slogan is "Your lines, my circles; your colors, my discoveries," or in more common terms: "You can draw what you can speak.".
In just two or three days, more than 1,000 people participated in the experiment. At the venue, most of the audience who claimed to have no artistic talent, through their voice input, received AI-assisted artworks, and were very excited. This is the integration of art into life and the art into life. In fact, contemporary art is to a great extent an experimental art.
Q: 您的艺术创作似乎总是与时代背景和个人经历紧密相连。在您的作品中,您是如何通过艺术语言来传达您对人生和社会的理解的?
Your artistic creation always seems to be closely connected with the background of the times and your personal experience. In your works, how do you convey your understanding of life and society through artistic language?
《慈爱》,1976,纸本水粉 ,52.5 × 38.5 cm
A: 您说的很对。艺术创作不能脱离时代背景和个人经历,甚至是某一段情绪和情感的宣泄。像毕加索的“格尔尼卡”,蒙克的“呐喊”,高更的“你是谁?你从哪里来?到哪里去?”等等。在我的人生经历中也融入了对那个时代背景的感情色彩,如70年代我的水粉作品“慈爱”,80年代前后在社会大变革中我创作的宣传画“欢庆”“要安定团结”等。
Artistic creation cannot be separated from the background of the times and personal experiences, and even from the catharsis of a certain period of emotions and feelings. Like Picasso's "Guernica", Munch's "The Scream", Gauguin's "Who are you? Where do you come from? Where are you going?" and so on.
My life experiences have also incorporated emotional colors from the background of that era, such as my gouache painting "Love" from the 1970s, and the propaganda paintings "Celebrate" and "Stability and Unity" that I created during the social upheaval around the 1980s.
《要安定团结》,1980,纸本水粉,109 × 80 cm
最令人记忆深刻的一段经历就是我在香港工作期间面临1997年亚洲金融风暴,我担任CEO的上实控股的股票从每股60多港元一下子掉到9港元左右,我心急如焚,在睡梦中跳出4个字“坚如磐石”,场景就是好望角的巨浪滔天、磐石屹立。而后,我利用几个周末创作了一幅油画《磐石》。1998年金融风暴过去,正值上实控股分拆上实医药在香港创业板首批上市成功,又抽到了一个好的代码“8018”。我的心情非常好,又画了一幅水彩《云开雾散》。当我从体制内出来的时候,一切似乎从头开始,我画了第一幅抽象画《沧海之光》。
The most memorable experience was during my work in Hong Kong, when I faced the Asian financial crisis in 1997. The stock price of my company, SIIC Holdings, which I was CEO of, plummeted from over 60 HKD per share to around only 9 HKD. I was so anxious that I woke up in a panic and said four words, "as solid as a rock", in my sleep.
The scene was like the waves of the Cape of Good Hope, with a rock standing firm. Then, I spent several weekends creating an oil painting called "Rock". After the financial crisis in 1998, SIIC Holdings successfully spun off SIIC Pharmaceuticals and listed on the Hong Kong Growth Enterprise Market, and it was assigned a good code "8018". I was in a very good mood and painted another watercolor painting, "Clouds Clearing and Fog Dispersing". When I came out of the system, everything seemed to start from scratch. I painted my first abstract painting, "The Light of the Sea".
《磐石》 ,1998,布面油画,59x86 cm
Q:作为一位兼具艺术家和投资家身份的人物,您如何平衡这两种不同的职业角色?您认为这两种身份在您的艺术创作中产生了哪些独特的交融和碰撞?
As an artist and an investor, how do you balance these two different professional roles? What unique blending and collision do you think these two identities have produced in your artistic creation?
A:如伟大艺术家的达·芬奇,不仅创作了《蒙娜丽莎》这样的杰作,还是物理学家、解剖学家,发明了飞行器原型,引领医学解剖。并不是想把自己跟那些巨匠相提并论,但每个人只要不放弃,都可能在跨界的几个领域中同时作出成就。我视经历为精神财富,即便历经60年代的磨难,它们仍激励我前行,并丰富我的艺术创作。创业投资是我的主业,但我也寻求生活平衡,对我而言,艺术正是这样的平衡机制,赋予我积极活力。艺术于我是,厮杀正酣的热血战场,舔血疗伤的深山隐居,时刻回归的平静港湾,虚拟现实的冥想空间,一旦追求,终身相随!
For example, the great artist Leonardo da Vinci not only created masterpieces such as the Mona Lisa, but also was a physicist and anatomist who invented the prototype of flying machines and led medical anatomy. I don't want to compare myself with those great masters, but as long as everyone doesn't give up, they can make achievements in several fields across borders.
I regard experiences as spiritual wealth, and even after the hardships of the 1960s, they still inspire me to move forward and enrich my artistic creation. Venture capital is my main business, but I also seek a balance in my life. For me, art is just such a balancing mechanism that gives me positive vitality. Art is to me, a passionate battlefield of intense battles, a secluded mountain retreat where I lick my blood and heal my wounds, a calm harbor where I always return, a meditation space in virtual reality. Once pursued, I will accompany you for life!
Q:在当前的艺术市场中,商业化和艺术性的平衡是一个备受关注的话题。在您的艺术创作中,您是如何保持这种平衡的?同时,作为一位兼具艺术家和投资家身份的人物,您认为艺术市场应该如何更好地支持艺术家的创作?
In the current art market, the balance between commercialization and artistry is a topic of great concern. How do you maintain this balance in your artistic creation? As an artist and an investor, how do you think the art market can better support the creation of artists?
A: 可能因为我身份特殊,在艺术作品商业化上少烦恼。创作时,我不先考虑市场或迎合收藏家,而注重独创性、时代性和思想性,淡化商品属性,但仍会观察市场反应。艺术与金融结合对我更有发挥空间,或成我下一步探索。有人认为艺术小众,但安迪·沃霍尔通过工具让艺术生活化、商业化、大众化。这次我尝试与Holovis合作,大胆地探索和实验AI在艺术创作中的大众化,我们向AI定向投喂了我的艺术作品的基本元素和风格,然后让任何一位观众现场参与,以语音输入,即刻创作岀我的艺术风格的作品,以手机下载后,参与者同时也拥有赠送的一枚NFT(非同质化代币),如果需要还可以4K的精度打印有油画笔触肌理的作品。艺术史上里程碑式的拐点都与科学技术的突破相关 ,近代艺术史上,科学技术对光影的研究和分析产生了印象派,摄影技术的发明导致了抽象主义的诞生,我们今天身处AI时代,下一个艺术史上的拐点,一定离不开AI人工智能。今天我以探索的精神投石问路,冒这点风险还是值得的。
Perhaps because of my special status, I have less trouble with the commercialization of art works. When creating, I don't consider the market or cater to collectors first, but focus on originality, timeliness, and ideological content, while downplaying the commercial attributes.
However, I still observe market reactions. The combination of art and finance is more conducive to my development, and it may become my next exploration. Some people think that art is a niche, but Andy Warhol made art more accessible, commercialized, and popularized through tools.
I am working with Holovis to try to popularize AI in artistic creation. The audience can create my style works by voice input and receive NFTs as a gift. They can also print 4K precision works. The turning points in art history are often related to technological breakthroughs. In the age of AI, the next turning point will be related to AI. I am brave enough to explore and it is worth taking this risk.
对 话 周 仕 超
Zhou Shichao
Q:您的作品在众多国家展出并且被很多知名机构和人士收藏,您觉得是哪些独特的元素让您的作品在国际上如此受到认可?
Your works have been exhibited in many countries and collected by many well-known institutions and individuals. What unique elements do you think make your works so internationally recognized?
A: 西方人能够认可我的作品,首先是东方的意境,我将西方油画的色彩和东方的绘画意境洽当的融为一体,在传统与当代之间、抽象与具象之间、东方和西方之间找到了一个恰当的平衡点,既表现出了色彩的感染力,又书写出了东方的诗韵,画面朦胧含蓄把观者带入画中,并使人产生无尽的遐想和回味。
Westerners can recognize my works because of the artistic conception of the East. I have integrated the colors of Western oil painting with the artistic conception of Eastern painting, finding a proper balance between tradition and contemporary, abstract and concrete, and East and West. It not only expresses the appeal of color, but also writes the poetic charm of the East. The hazy and subtle image brings the viewer into the painting and creates endless reverie and aftertaste.
Q: 您在本次展览中有四件作品是绘画和空间装置相结合以及大型装置《失眠》,这是您在从平面走向空间的尝试,您在这个创作过程中遇到了哪些最大的挑战以及是如何克服的呢?
Four of your works in this exhibition are a combination of painting and spatial installation, as well as the large-scale installation "Insomnia". This is your attempt to move from the plane to the space. What were the biggest challenges you encountered during this creative process and how did you overcome them?
A: 艺术家作为综合性的创作者,在其擅长的领域内不断探索新的尝试,致力于打破既有界限,创新视觉语言。近年来,我逐渐尝试将绘画与材料相结合,这一过程中遇到了诸多新问题。装置艺术作品的表现力,很大程度上取决于艺术家对材料语言的精准把控以及对整体空间布局的巧妙设计,从而引发观众全新的审美体验。
As a comprehensive creator, the artist constantly explores new attempts in his field of expertise, and is committed to breaking existing boundaries and innovating visual language. In recent years, I have gradually tried to combine painting with materials, and encountered many new problems in the process.
The expressiveness of installation artworks largely depends on the artist's precise control of material language and clever design of the overall spatial layout, which can trigger a new aesthetic experience for the audience.
对 话 耿 耿
Geng geng
Q:您的作品常常被形容为能量的体现,像《涤》就有着内外兼具的能量,您在创作时是如何捕捉和注入这种能量的呢?
Your works are often described as embodiments of energy, such as "DI", which has both internal and external energy. How do you capture and inject this energy when creating?
A: 省去纷繁复杂的图像格式,回归简单的形态,在“圆”元素上运用类似于书法狂草书写的方式灵动展现源自内心激情的态度,整个过程是非理性的,依靠的是内心关照方式即兴处理或大或小的画面关系包括色彩。通常也较多的采用纯黑色暗示原始动能,并且用各种简单凝动的背景方式与之互动来行成传达。
Eliminating the complex image formats and returning to simple forms, the use of the "circle" element in a way similar to calligraphy cursive writing vividly demonstrates an attitude of inner passion. The entire process is irrational and relies on inner care to improvise the relationship between large and small images, including colors.
Usually, pure black is also used to imply the original kinetic energy, and various simple and condensed background methods are used to interact with it to convey the message.
Q: 您首次创作巨型装置《埃——对话矶崎新》,在这个过程中与以往创作小尺幅作品或者其他创作有什么不同的体验?
You created the giant installation "Ai - Dialogue with Arata Isozaki " for the first time. What was the different experience from creating small-scale works or other creations in the past?
A: 在上海喜玛拉雅中心创作的《埃——对话矶崎新》装置作品极具挑战性,原计划10天完成,实际仅用7天。该作品需大胆且精确的现场操作,我常用目测计算尺寸,这使我联想到远古工匠的建造方式。此作品尺寸为9.9米,意在取最大数,组装时展现出震撼的力量感,恰到好处。相比小画幅作品,大尺寸的形态掌控更为困难。
The installation work "Ai - Dialogue with Arata Isozaki" created at the Shanghai Himalayas Center was extremely challenging, with an original plan to complete it in 10 days, but it was actually completed in just 7 days. This work requires bold and precise on-site operation.
I often use visual estimation to calculate dimensions, which reminds me of the construction methods of ancient craftsmen. The size of this work is 9.9 meters, which is intended to be the largest number, and when assembled, it shows a sense of shocking power, which is just right. Compared to small-format works, it is more difficult to control the form of large-scale works.
展览信息
《龘——卓福民、周仕超、耿耿当代艺术三个展》
DA CONTEMPORARY ART EXHIBITON
展览时间/TIME
2024年10月27日至11月24日
October 27th to November 24th, 2024
展览地点/Venue
上海市浦东新区樱花路869号3F展厅
3F Exhibition Hall, No. 869, Yinghua Road, Pudong New Area, Shanghai
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