LAN ZHAOXING 兰昭形

阿卡迪亚

文|兰昭形

阿卡迪亚是希腊一个与世隔绝的诗歌世界,是理想中牧歌般的世外桃源。多年前看到普桑的《阿卡迪亚的牧人》,被“Et in Arcadia ego”(阿卡迪亚也有我,“我”是指死亡)这句话深深打动,它体现了死亡的必然性和普遍性,不论在何处也难以逃避死亡。但死亡在充当毁灭者的同时,也是一个保存者,存在一种无限循环的承继,符合自然、符合德性,短暂的呈现每一个阶段,拥有了惟属自己的坚实价值。从此喜爱了普桑,他的沉默和理性,透明的、如水晶般闪亮的明晰,诗般的韵律等等都是我所追求和需要的。

这次展览的题目之所以叫“阿卡迪亚”,因为绘画就是我的阿卡迪亚,为我带来存活意义和欢心愉悦同时,人生的苦痛亦包含其中,就是无可避免的“Et in Arcadia ego”。对立面总是共生关系,在它飞旋离去的时刻,我将会(不得不或需要)将其相反的一面再拉回,而达到一种平衡,这种平衡体现在视觉和内心,由此我创造了忠于自己的画面。内心和视觉的无碍自由,可达深处,可攀顶峰,视域里的一切被解构、重建,色彩、结构作为诗歌里的语言、音乐中的音符来表现,而我成为把各部分整合起来的“诗人”和“作曲家”,互不相连之物被不间断的紧密联系在一起,赋予了新的生命,我创造并赢得了时间,画面寂静,所有的声音都会在其中回响,一切都有序清晰的呈现。我将模糊的物象归纳、强化,并用主观的色彩和造型来体现、营造氛围,如《阿卡迪亚》主要运用紫色和黑色、《in Tahiti》中的各种植物的外形、《昼与夜》粉色和蓝色的树等。作品中黑色的运用是对一种纯净简朴、夜晚一样沉思的追求,蕴含着生的凝重和对死的反思。不规则的块面在作品中多次出现,如《夜火1》灰烬外的蓝色、《山中小屋》山上的石块、《冬天1》裸露的土地等,这些总让我想起一望无际的草原上散落的白色的羊和沙漠中遍布的植物和石头,分布在颜色、形状、结构上基本都是均衡的,就像内心深处的洞,需要一个一个填满,来平衡和满足自我面对世患和困境的失衡。

17年个展后已经过了两年的时间,我不停的前行,看着许多喜爱的大师,时而觉得离他们很近,但到满足的时候距离又将我们拉远,这种感受激励着我只能不断的向前。而回首看过去的自己,知道无论快慢已经是站在过去自己的前面,这又让人欣慰,岁月就是在这两种感觉中交替逝去,我不停的在均衡、追求、寻找,得到一些也失去一些。希望自己用一生来努力,保持谦虚、严谨和艺术的活力,即使永远没有尽头,永远没有最好,但,只要不停前行!

Arcadia

By Lan Zhaoxing

Arcadia is an isolated poetic place in ancient Greece and an idealized pastoral paradise. I was deeply touched by the phrase “Et in Arcadia ego” (“Even in Arcadia, there am I”, “I” refers to Death) when I encountered Poussin’s work The Shepherds of Arcadia many years ago. It conveys the necessity and universality of mortality, the unavoidable mortality wherever you are. Decease works as a destroyer as well as a conserver, informing an unlimited cycle of succession. During this process, each phase contemporarily presents the attributes of its own solid value in accordance with nature and virtue. Since then, I have been fond of Poussin. His silence and rationality, his transparency, which is as clear as crystal, and his poetic rhythm are what I have been searching for.

Painting is my “Arcadia”, bringing me the meaning and pleasure of living as well as the pain of life, which is the inevitable “Et in Arcadia ego”. The opposites always coexist. When one pole spins away, I will have to or need to pull back the other pole to attain a balance. The balance is presented in visuality and innermost being, the unobstructed freedom of which can reach the depth as well as the peak of innermost being, enabling me to create scenes that are loyal to myself. Everything envisioned can be deconstructed and reconstructed. The color and structure can work as language in poem or as a note in music and I accordingly become the “poet” and “composer” integrating each section. Those unconnected parts are constantly closely linked and endowed with new life, through which I create and win over time. When the scene becomes mute, the sound echoes and everything presents clearly and orderly. I categorize the vague objects and enhance the categorization; I present and construct the atmosphere with subjective colors and figures. For instance, in Arcadia, I mainly apply purple and black; various shapes of plants in In Tahiti; pink and blue trees in Day and Night etc. I use black as a means of pursuing the pure, plain and night-like contemplation, implying the dignity of life and reflection upon death. The irregular blocks also arise several times, such as the blue beyond the ashes in Night Fire 1, the rock in Mountain Cabin, and the bare land in Winter 1. These remind me of the white sheep scattered on the endless grassland, the plants and rocks across the dessert. Basically, they balance the color, shape and structure, like holes in the heart, which require filling up one by one to reduce any imbalance when the self is confronted by world suffering and predicament.

It has been 2 years since the solo show in 2017. I keep on working and learning from my favorite artists. I have a feeling that I am close to them at some moments; but when I feel satisfied, the distance pulls us away. This feeling encourages me to keep on working. Looking in retrospective, I know I have been ahead of myself in the past no matter how fast or slow I am going, which is very comforting. Time flies in the two alternating feelings. I have been constantly balancing, pursuing and exploring, I have gained something while I have lost something. I hope I will retain the humble, rigorous and artistic vibrance, even though it is an endless journey, never reaching perfection. However, as long as one never stops!

 

 

 

春天的六张画

文|兰昭形

又是一年,新的和未知的,人的动物性在这时候显露无遗,或许是衰老或许是惧怕死亡,但却嗅到了生发的气息,潮湿的空气和泥土的味道,似乎一切都有点欣欣荣,一切都有重新开始的可能。于是需要来点绿色,没有太多特定的想法,在沉重和荒凉中的亮色,一段音乐中的跳跃音符。

六幅画中除了一张风景,其它都算是植物,虽然是植物但具有静物画的特性,适当表现了广阔的世界观品质。特定的场所中的某物,如《别处的花朵》、《剑麻》、《没开花的吊金钟》虽然没有思考太多,但也希望是有意识的观察取得与回忆交织的产物。 两张葡萄一张是很久前看到过一张黑色的葡萄静物,像在空旷的空间把精神中隐藏的一根神经放在画布上,所以画了一张葡萄是黑色的;另一张我想起了古罗马的夏天,想起了庞(贝)的壁画,所以又画了一张绿色的葡萄。我画这些画把它们当作一种逐渐的自律、令人安宁和救赎性的工作,只是仔细揭示静止对象变化而又富有规律的面相,随着时间的流逝而描绘。《山中小屋》是维特根斯坦在瑞士自己设计和修盖的一个小屋,我特别喜欢这个小屋,他就像维特根斯坦这个人一样, 具有相同的气质,和荣格的湖上小屋如出一辙,这个小屋还有计划继续创作,它是一个精神的家园,纯粹的。

 

Six Paintings of the Spring

By Lan Zhaoxing

Another year begins, the new and the unknown, the animality of human is thoroughly exposed at this moment. Maybe I am aging or I am afraid of death, still I can nose the breath of vitality, humid air, and the smell of the earth. Everything seems to be prospering, everything has the possibility of a new beginning. Thus, we need a little bit green, not too much particular thought; bright color in the depressing and desolate, and the beating notes in a piece of music.

There is only one landscape painting among the six. The rest of them depict plants, though they have the property of still life painting, and manifest properly a broad worldview. There is not much thought in painting the plants in certain occasion, such as Flowers Elsewhere (别处的花朵) , Sisal (剑麻), and Fuchsia Not Blooming Yet (没开花的吊金钟); though I hope they are products of the entanglement between conscious observation and memory. There are two paintings of grapes. One of them is inspired by a black still life painting of grapes that I have seen long time ago. It looks like a hidden nerve placed on the canvas in a spacious room; so I drew a painting of black grapes. The other one reminds me of the summer in ancient Rome, and of the mural painting of Pompeii; so I drew the other painting of green grapes.  I draw pictures, and I consider them as work that is gradually self-discipline, tranquil and as work of salvation. I just carefully reveal the changing yet regular aspects of the still object, depict them as time flows. The Cottage in the Mountains depicts the cabin that Wittgenstein designed and built in Switzerland. I like it very much. It is just like Wittgenstein, it reflects his temperament, just the same case of Carl Jung’s cottage by the lake. And, I have a plan to continue the painting of cabin, a spiritual homeland, and a pure one.

 

 

兰昭形

1977年出生于中国山西

1997年-2001年 山西大学美术学院雕塑专业

2006年-2008年 天津美术学院油画研究生同等学力班

个展

2019年 阿卡迪亚,Tong Gallery+Projects, Beijing

2017年 野火,Tong Gallery+Projects, Beijing

群展

2017 艺术深圳,深圳

2018 釜山艺博会,釜山

2018 有声儿,Tong Gallery + Projects,北京

2018 游弋,杭州宝龙艺术中心,杭州

 

 

Lan Zhaoxing

1977 Born in Shanxi, China

Education Background

1997-2001: Bachelor, Sculpture, Colloge of Fine Arts, Shanxi University

2006-2008: Master Course with Equivalent Educational Level, Oil Painting, Tianjin Academy of Fine Arts

Solo Exhibition

2019, Arcadia, Tong Gallery+Projects, Beijing

2017, Wild Fire, Tong Gallery+Projects, Beijing

Group Exhibition

2017, Art Shenzhen 2017, Shenzhen

2018, Art Busan 2018, Busan

2018, Resonating, Tong Gallery + Projects, Beijing

2018, Wandering, Powerlong Art Center, Hangzhou

 

 

自述

文|兰昭形

艺术之于我是我在自己的生命中感到唯一想做和能够控制的事情,对此不管生活如何行进,我亦开怀有这么一件事情的存在。纵观从学习绘画到现在,一条直而坚硬的线条一直贯穿始终,从想做艺术家而毫无规划的少年到逐渐开始步步构建,人生的轨迹围绕它时左时右,有地域的变换,有思绪的困惑,也有自我的超越,但那条线依然笔直不怠。我把艺术等同宗教,作为人生的信仰,神圣的无处不在的,比我相信泛神论中冥冥之中自有天意的无法得知的浩瀚宇宙来得更具有自我精神和所谓人生的意义。

我想我的作品的出发点是自传性的。对我来说,绘画也是一个外在于社会生活的历史洪流的过程,是一种封闭的个人行为,在其中,面对自然和自我这两个可变的世界,我从中选择了我需要的作品要素,并赋予了色彩和形式,努力使感性反应中的知性成分具有逻辑一致性。我崇尚作品的崇高感和永恒性,排斥单纯的图像化,我总是想把自己的情感在荒野中深深“陷入”,就是这个词——“陷入”,色彩和形式平面序列的营造,使画面具备音乐性,就像欧洲中古民谣,缓缓低沉而纯粹,也像回到诗经中的“风”,有重复的“劳作性”音乐和魏晋时期诗歌的朴直刚健,诗和绘画的神秘相通之处不一一缕述,现在做比较的只是其音乐性。我不太喜欢自己的作品有文学情节性,因为故事会把绘画本身所传递的各种可能性有所抵消。

我的纸上作品和油画作品互补而不重合,都是单独的存在。我很喜欢排线,重复的行为本身会带来一种均衡,让我产生了一种无目的的目的性愉悦,也像禅定,一种简单的劳作让我深陷其中,形成了自有的张力、延展、无限和静默,以及欲望。纸上作品因为笔的硬度可以很好的表现这种坚硬的线条,油画我也想做到,但仍然在探索,需要更多更好的和材料熟悉和交流才能达到。每次长时间未拿画笔,我总是要在调色板上刮很久的废弃颜料,我似乎能感觉到我在和它低声诉说。

后印象三人我喜爱多年,对我影响很深,他们仿佛就是从十九世纪末又开始返回到了拜占庭艺术的形式主义,所以我为此热爱、追溯。我目前所追求的就是介于自然主义和抽象艺术之间,赋予形式秩序感和音乐性,并有建筑般的永恒。创作开始的明确和知性,还有最初的感觉要努力通过形式语言保持到最后。对我来说综合也是通往我永远在不断趋近而永远也无法抵达的渐近线,与现实世界不可公度却平行,我在现实和自我之间有游离和犹豫,但也有果敢,我认为这是自我的一个征程。

经过几百几千年的岁月沉淀,壁画带给我很多,我找到了一些自己需求和追求的东西,也因此影响了我的创作。无论是意大利壁画、埃及壁画、印度细密画、还是中国各个时期的壁画,总是让我心生欢喜之情。弗朗切斯卡作品具有几何学的调合感和其形态的纯粹性,乔托和马萨乔的庄严肃穆,乌切罗对透视法和欧洲宫廷装饰的优美结合,印度细密画的纤细线条贯穿整个画面,埃及壁画总是把事物最具有特性的一面来表现,每个细节都有强烈的秩序感而不可移动。中国的壁画比其它了解更多更复杂,色彩,秩序,韵律、线条等等,这些都让我着迷。近几年也钟爱宋画,就如高居翰所说:“一种古典的自制力掌握了整个表现,不容流于滥情,艺术家就像生平第一次接触到自然,并以惊叹而敬畏的心情来回应自然。他们视野之清新,了解之浑厚,是后世无可比拟的。”如同十七世纪的普桑,画面含蓄宁静,充满了明晰和平衡的秩序,温和折衷的理性闪耀。感谢从古到今,有名的或无名的我所喜爱的艺术家伴我同行,使我的画室生活变的不孤独,使我知道自信与谦卑共存是何等重要。

我可能是一个比较传统的人,面对纷繁复杂的现当代世界和碎片化生活张牙舞爪的冲击,我只是想做好自己喜爱和有能力做好的事,我坚持自己的观点,不随波逐流,我渴望离群索居的生活,这些都没什么,世界就是这样,有这样的人,就有那样的人,没有绝对的真理,没有绝对的对错,没有绝对的好恶。我想做到的是在众多的面孔中能清晰地说出自己的话语,有着独立性,充满内涵和永恒活力的作品。创造充满无限可能,对我而言。

 

Artist Statement

By Lan Zhaoxing

For me, art is the only thing that I feel obliged to do and the only thing that I can control in my life. No matter how life goes on, I am so pleased about the existence of art. A straight and rigid line has penetrated throughout these years, from learning painting to present. Beginning with a teenager who wants to be an artist yet has no plan, then followed by gradually constructing step by step, the trajectory of life revolves around this line, sometimes on the left, sometimes right, alongside with regional migration, mental confuse, and self-transcendence. Yet, that line keeps being straight and strict. I consider art equally to religion. I regard art as religion of life, which is divine and ubiquitous. Compared to the belief in pantheism and in the vast cosmos that is predestined and unknown, art is much richer in self-spirit and so-called life meaning.

I think, the departure point of my works is biographic. For me, painting is a process that is beyond the historical tide of social life, and it is a closed individual behavior. In painting, I am confronted with two changeable worlds–the nature and the self, and I choose the elements I need, and endow them with colors and forms, in an attempt to maintain the logical consistence of the intelligent components in the sensual reactions. I admire the sublime and eternality of art works, and reject the mere visualization. I have always being trying to be immersed in my emotional wildness. It is this word—immersion, the configuration of colors and plane sequence of forms that provides a picture the musicality, just as the medieval folk songs in Europe, slow and low, yet pure; also like the ”airs”-repetitive “laboring” music in Classic of Poetry (Shijing); or the simple and straightforward poems from Wei-Jin period. I won’t explore the similarities between painting and poetry. Now, I am comparing their musicality. I am not fond of the literature plot in my works. Because, the story will undermine various possibilities that painting itself conveys.

My paper painting and oil painting are complementary but not coincident. They are unique. I like the array of lines; the repetitive behavior itself brings a kind of balance and generates pleasure of aimless purpose. As the practice of Zen, a simple labor catches me in, and forms its own tension, extension, infinity, silence and desire. The rigidity of pen works very well for this rigid line in paper painting. I want to make it in oil painting, but I am still exploring and I need more familiarity and better communication with materials. I always spend much time in scratching the abandoned pigments when I have not painted for a long time. Somehow, I can feel that I am talking with it softly.

I have been keen on three artists of post-impressionism, who have a profound influence over me, as though they returned to the formalism of Byzantine arts from 19th century. Hence, I have deep love for them and trace back to them. For now, what I am pursuing is between naturalism and abstract art, the sense of order and musicality, and architectural eternality. The certainty and intellectuality in beginning creation, and the very initial feeling should be managed to the end through formal languages. For me, integration also leads to the asymptote that I have been approaching yet will never reach. It is incommensurable but parallel with the real world. I cruise and hesitate between reality and self, but I also have bravery. To my submission, it is a journey of self.

With hundreds of thousands of years’ precipitation, mural painting inspires me a lot, from which I find something I need and pursue, thus affects my creation. No matter Italian mural painting, Egypt painting, or Indian Miniature, or Chinese mural painting in different periods, they can greatly please me. Francesca’s painting present the harmonic sense of geometry and the purity of the forms; Giotto’s and Masaccio’s sublime and solemn; Uccello gracefully combines the perspective and European court ornament; Indian Miniature has its slender lines running through the picture; and Egypt painting usually shows the most unique aspect of object, every detail has a strong sense of order and immovability. I know more about Chinese mural painting and they are more complicated. The color, order, rhythm and line, etc. all make me fascinated. I have developed my love for Song painting. I know more about Chinese mural painting and they are more complicated. The color, order, rhythm and line, etc. all make me fascinated. I have developed my love for Song painting. According to art historian James Cahill, in Sung painting, a classical self-restraint grasps the entire presentation. The artists in Sung dynasty were unbearable about the excessive emotions just as if it was their first time to encounter nature. Having a distinct conception, concentrating on the things to represent, they responded to nature with a surprising and admiring mood. As Poussin painted in 17th century, the picture is restraint and tranquil, imbued with a clear and balanced order; permeated with mild and compromising ration. I appreciate the companionship of my favorite artists, famous or anonymous. They keep my life in studio from being lonely, and they inspire me to realize the importance of the coexistence of self-confidence and modesty.

I am relatively traditional. Confronted with entanglement and complexity of contemporary world and the ferocious shock of fragmented life, I just want to try my best to do what I love and what I can complete. I hold on my own viewpoints, and I don’t drift with the current. I am longing for living a isolated life. It is not a big deal. That’s the world, with people of this kind and that kind, with no absolute truth, no absolute right or wrong, no absolute goodness and evil. For me, what I want to accomplish is clear expression of my own discourse among lots of faces, to create art works that possess independence, rich contents and eternal vitality, leading to infinite possibility.