野百合的春天更美:刘养闻作品谈

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一切艺术都是直觉的,你无法讨论它,因为你连它是什么都不知道。

—— 刘养闻

野百合的春天更美:刘养闻作品谈

文/周彤 |翻译/Dr. Dimitra

记得曾经特别喜欢台湾的一首歌,野百合也有春天,是罗大佑写给潘越云,当年唱遍大江南北,如今慢慢沉寂了,可什么时候听,那种淡淡的感伤,和浓烈的热
情,都还是扑面而来。
有时候想,把歌词里面的百合改成艺术,也很贴切,真正热爱艺术的人,对于作品,都如同歌词中所唱的那样:爱你想你念你怨你,深情永不变。比如当年在巴
黎,美国,台湾,都落寞的常玉,活着的时候,永远没有成为艺术圈里的核心,可他对于艺术本身的热爱,却让他的作品,过了一个世纪,成为所有华人的热爱。
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山谷里寂寞的角落里,永远藏着艺术家,他们和在朝者风光不同,可却都在各自的世界里,对于创作苦心经营,不断耕耘。今天,我介绍的也是这么一位年轻人,每到春天,在他工作室后面的小山上,经意去找,有不少独自盛开的野百合,那种孤芳里,有种卓尔不群的傲娇,也有对自然美感的谦虚,他就是刘养闻。
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花卉静物,一直是绘画的主要对象,从法国拉图尔方丹,到今天美院的教学,各国各派的艺术家,都用各自的理解,去发展和拓展,似乎总有新鲜的观感。刘养闻,作为一个九五后,也把百合作为自己创作的主要目标,进行研究和探讨,从他第一张走到现在,几十张,大大小小的作品里,有了一条相对清晰的脉络,就是不断深入发展自己头脑中的那束花,反复主观的折叠,各个角度思考,不同方法的聚焦之后,花瓣,花蕊,乃至花的形体,被逐步打散,变形后的线条,被他缓慢且坚定地重新安排,而这些图像的构造里面,是他用头脑和思考,安排,叠加,拉伸,原本花体具象的三维空间,被折叠和压扁后,造型越来越接近抽象,可花的内容却并没有随着变形而失去,反而随着线条的重新搭建,变得更为贴切,静物从原本的绝对安静,转为有了动感的冲动,这其中,青春的胆敢和冷静的设计,有趣合而为一。
 
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艺术的本质在于狂野,没有约束的思考,才能把创造带到无人之所在,杜甫在描写江船的时候,特意点出来野径云俱黑,只有在绝对的黑暗里面,思想的亮光,才能将存在照的更加分明,而看起来得到时令的雨水,湿润万物的背后,是隐匿而潜在的。刘养闻的绘画里面,可以看到他的创作方法,就是一张一张向前推进,单独一张,没法看到整个过程,而当所有作品,一起展示,就能看到他这几年,对于眼前方寸内静物的逐步剥离和揉搓。当破晓的阳光,重新带着黑暗,那个美丽的城市,才能在花的簇拥下,展现出本来的面目,如果用文学来形容,刘养闻的这条创作思路,杜甫这首《春夜喜雨》,似乎比什么评论文字,都更接近,也具有更多的想象空间。
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对于一个九五后的青年,有了这么点,独自的探索就很难能可贵,特别是世界上那么多画家都曾经,或者正在面对的花卉,刘养闻,给出了自己的心得和答案,用发展的眼光去看,他每一段的进步,清晰可见。
发展属于个人的技术,并且让这个技术的发展,变得调理明确,其实是有所成就的画家的必由之路,我们这里所说的技术,当然不在书里,也不在美术馆,更不在画院和学校,而是在默默探索者的思考中,在寂寞的画室里,这是刘养闻心中的感悟,也是他绘画中的写照,更是明天中国美术的希望。
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The Spring of Wild Lilies is More Beautiful: On Liu Yangwen

By ZHOU Tong|Trans. By Dr. Dimitra

I remember once I particularly liked Spring Comes for Wild Lilies Too, that Taiwanese song written by Luo Dayou for Pan Yueyun. It used to be very popular around the whole country, but now it is almost forgotten. Whenever I listen to it, the subtle pain and the strong warmth in that song hits me.

Sometimes I thought it would be fitting to transform the lilies of the song into art. The lyrics somehow describe the attitude of the true lover of art toward their work: “I love you,I miss you, I think of you,I hate you, deep love never changes.” Chang Yu常玉 (1900-1966) is an example. A lonely artist in Paris, the United States, and Taiwan, he was never at the centre of artistic circles during his time, but it was his love for art itself that made his works, after a century, gain the love of the Chinese public.

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There will always be artists hiding in the desolate corners of the ravine, looking upon a different scenery compared to accepted artists. But they have their own worlds to live in, tirelessly devoted to their work. The young man I am introducing here is one of those artists.  Every spring, on the hill behind his studio, when I look carefully, I am sure to find many desolate wild lilies blooming there. There is a kind of warmth underneath a guise of pride and aloofness, and a humbleness in the aesthetic appreciation of nature which stand out—this is Liu Yangwen.

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Floral still lifes have always been prominent in painting. From Henri Fantin-Latour (1836-1904) to today’s art school classes, artists from various countries and schools have used their own understanding to develop and expand still lifes, and there always seems to be a new perspective. Belonging to the post-95’s generation, Liu Yangwenhas in turn placed lilies at the centre of his creative work, studying and exploring them. From his very first painting to the dozens of works he has created until today, whether large or small, one can trace a relatively clear connecting thread. Liu continuously works on developing the bouquet he has in his mind, with repeatedly self-referential foldings, thinking about it from various angles, and focusing on it in different ways.In this process, the petals, the stamens, and even the shape of the flower are gradually broken up, until the artist slowly and steadily rearranges thedeformed lines. Within the structure of these images, and through careful thought, Liu arranges, composes, and expands the shapes, until the original three-dimensional flowers, folded and flattened, become more and more abstract. But the content of those flowers is not lost with deformation. Quite the opposite—the reconstruction of the lines gives the work more power. The initial, absolute quietude of the still life gives its place to a dynamic impulse, in which the boldness of youth and clear-headed design come together in an interesting way.

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Only when the essence of art becomes the object of wild, unrestricted reflection cancreation be brought to the place of no man. Depicting a river boat, Du Fu 杜甫 (712-770) writes that “on the country road the clouds are black.” Only in absolute darkness can the bright light of thought illuminate existence more clearly, and the rain that seems to be timely and behind all things moistened, stays hidden, unseen. In Liu Yangwen’s paintings, we can see that his artistic method is to proceed painting by individual painting, which makes it impossible to see the whole process in one single piece.But when all the works are exhibited together, we can see revealed before our eyes how through the years, inch by inch, he has been removing layers and polishing his still lifes. Only when the sunlight at dawn carries back the darkness of the night, can the beautiful city, surrounded by flowers, reveal its true face. If literature can describe Liu Yangwen’s line of creative thinking, Du Fu’s poem “Welcome Rain on a Spring Night” seems to be closer than any critic’s review, and leaves more space to imagination.

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For a young artist, exploration in aloneness is invaluable. What is special about Liu is that when so many painters in the world have worked or are working with flowers, he offers his own unique insights and answers. If one takes mature, accomplished artists as a standard, Liu of course still has a long way to go. If one looks at his work in terms of development, every step of his progress is clearly visible.

Developing one’s own technique and making sure the development is apparent is in fact the path of an accomplished painter. By “technique,” I am not referring to anything found in books, art galleries, art academies and schools, but to the thinking of silent explorers working in their desolate studios. This is something Liu Yangwen understands in his heart and depicts in his paintings. It is also the hope for Chinese art in the future.


/展览现场 Exhibition Site

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关于画廊
About Us
Tong Gallery+Projects 由孙彤女士于2015年创立,是一家坐落于北京798艺术区的当代艺术画廊。画廊希望通过呈现国内外代表性艺术家的高品质艺术展览,举办具有实验性和探索意义的互动项目,发展成为中国最具代表性的画廊之一。
Tong Gallery+Projects is a contemporary art gallery founded by Ms Sun Tong in 2015. Located in the 798 Art Zone in Beijing, Tong Gallery aims to become one of the representative galleries in China by presenting high-quality art exhibitions of artists at home and abroad and holding interactive projects with experimental and exploratory significance. 
Web 官网 : www.tong-gallery.com
E-mail 电子邮件 : business@tong-gallery.com
Tel 电话 : +010 57626202
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地址:北京市朝阳区酒仙桥路798艺术区中二街D06
Address: D06, Middle Second Street, 798 Art Zone, No.2 Jiuxianqiao Rd, Beijing
开放时间:周二至周日 10:30-18:30
Opening hours: Tuesday-Sunday 10:30-18:30

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