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激情静止 | 金凡个展

发布时间：2024-12-21 07:11:14

Passion Staticl | Jin Fan Solo Exhibition

展览介紹ABOUT THE Exhibition：

花与时间的赛跑

画家金凡，潇洒的笔触和具有粘性且厚重的油画颜料相互融合，形成了她近期这一系列作品——静物花卉，这是一场名为《激情静止》(Passion Static)的展览，仅在厚山ART画廊展出。金凡将在现场用画笔为我们演绎一场花与时间的赛跑，在鲜花枯萎之前将其美丽的绽放瞬间停留在油画布上。她在中国西北美丽的新疆伊犁出生，长大，美丽广阔的地理环境造就了金凡的作品风格，使我们能够联想起她家乡的美景；她的童年生活与大自然紧密的联系在一起，她率真而果敢的笔法把明亮的色彩与二维立体感，借用油画颜料赋予花卉新的生命力并使其在画布上立体绽放。

Quickly yet masterfully applied with a confident hand, the thick brushstrokes strokes of Fan Jin’s viscous oil paint fuse together to form her most recent series of still-life floral bouquets, a show entitled Passionate Stillness, only on view at Houshan Art. Her quick hand comments specifically on the time-precious nature of a floral still-life she executes her work before the flowers wilt, die and cease to exist. Growing up in northwest China, natural themes inform Fan Jin’s entire artistic oeuvre- from bucolic landscapes reminiscent of her homeland, to expressive floral scenes, her childhood connection to nature remains unbroken. In a striking duality, the unfished portions of Jin’s canvas call its inherent two-dimensionality to mind, while her thick application of impasto paint imbues a contrasting sculptural and three-dimensional quality, further emphasized by her literal carving of the paint on the canvas, creating deep wells of negative space. And because of her energetic use of brushstroke, in concert with her placid still life subject, the title of her exhibition, Passionate Stillness, is strikingly appropriate.

艺术评论Art Review：

东方新语境/陈勤群

金凡是个十分看重生存价值的艺术家，生命的虚度对她来讲是不可想像的，在可以自由支配的时间，把自己交给绘画和阅读，她才感到踏实和自在。偶有休闲，环顾周遭，回头数点走过的脚印，她每每对自己都不甚满意，总想在艺术上有更大的突破、更多的积累……她把生命的创造，视为人生成就的重要标志。她是那种越是休闲，对自己生命成果的盘点就越清晰，所以就时时容易有紧迫感的人。

Jin Fan is an artist who values the value of existence, and it is unthinkable for her to waste her life. She feels solid and comfortable when she can give herself to painting and reading during her discretionary time. Occasionally, when she has leisure time, she looks around and counts the footprints she has made, she is not satisfied with herself, and she always wants to have a bigger breakthrough and more accumulation in art. ...... She regards the creation of life as an important symbol of achievement in life. She is the kind of person who, the more casual she is, the clearer the inventory of her life's achievements becomes, and so she is prone to a sense of urgency from time to time.

谧 / 布面油画 / 33cm x 33cm quiet / Oil on canvas / 33cmx33cm

有意思的是金凡在时间上斤斤计较、精打细算，在艺术上却无拘无束、率性而为。古典油画那种步步为营，工于精描细划的要求，与她随心所欲的表现倾向，相去甚远。写实逼真的艺术处理，她总显得碍手碍脚，涂抹的不尽心、不痛快。她油画的写意倾向不是那种形而上刻意追求的结果，而是一种发自心性的自由书写。但学院教育的背景，使她的书写仍然在西方油画形色严谨的框架中游走。

或许材质的刻划和三维的再现，不是她兴趣所在，她并不追求三度空间形成的逼真的光影效果，但她充分利用透视光影的关系，在色彩的三要素中寻找丰富的对比，她在色相、明度、纯度和冷暖对比中看似随意却又高度概括地运笔。她充分地利用油画布的白底，呈现了阳光下爽利又明快的造物，如《绿原》。而《秋语》、《回声》中轮廓的边线与复杂的灰调在穿扦交揉中生机勃勃又不失典雅。她对蓝与橙、紫与黄几组对比色的偏好使她经常沉缅在微妙灰调的布陈铺垫中，享受无处不在的对比、叠加和创造的快意，当这种创作情景进入最佳状态时，画面往往既具音乐感又有金石味。

It is interesting to note that Jin Fan is meticulous and frugal with time, yet free-spirited and unconstrained in her. The classical oil painting's step-by-step process and its focus on detailed depiction are far from her spontaneous and free-spirited approach. She seems to struggle the realistic and true-to-life artistic treatment, unable to fully commit or feel at ease. Her freehand style in oil painting is not a result of deliberate pursuit but a natural expression of her inner freedom. Perhaps the detailed depiction of materials and three-dimensional representation are not her interests. She does not strive for the realistic light shadow effects created by three-dimensional space. However, she skillfully uses the relationship between perspective and light and shadow to find rich contrasts in the three elements of color She seemingly randomly but highly summarily handles the hue, brightness, purity, and temperature contrast in her brushwork. She fully utilizes the white base of the oil to present bright and vivid creations under the sunlight, such as in "Greenland". In "Autumn Language" and "Echo", the outline edges and complex tones are interwoven and lively yet elegant. Her preference for blue and orange, purple and yellow contrast colors often leads her to immerse herself in the delicate tones, enjoying the contrast, superposition, and creation everywhere. When this creative situation reaches its optimal state, the picture often possesses both musicality and a sense solidity.

蓝 / 布面油画 / 33cm x 33cm Blue / Oil on canvas / 33cmx33cm

可以想象她极少面对造物进行亦步亦趋的描绘，她那直中求曲、一波三折的造型极具东方意味，在内外轮廓歪歪扭扭、曲曲折折的趣味追求中，她笔下的色彩与其说是三维纵深梯度的塑造，不如说是墨分五色的理念在油质媒材上的延伸。她正关注画笔留下的运动痕迹：笔意、笔力、笔趣与东方意境的高度结合。而这种中西交融相遇时，各种语言可能性的展开，使她面临着东方的挥写与西方的塑造，在色彩的并置、衔接、渐变、对比中的种种难题和创造的契机……

学界有言：油画进入中国之日，就是中国意象油画开始之时。东方的形式和思想资源的每一个层面都是中国意象油画的创造源泉：形、色、线、图式、意境、美学及民族心理等每一个不同的焦点都可以成为创作的理由和原动力，＂牡蛎要制造一颗完美的珍珠，需要一些物料，需要一颗砂粒或一块小东西，以便围绕着它形成珍珠。没有那样一个坚硬的核心，就可能长出一团不成形状的东西。如果艺术家的形式感和色彩感結晶成完美的作品，他也需要那样一个坚硬的核心—— 一桩明确的任务，使他能够集中才智去承担起來。＂（《艺术发展史》贡布里希、第329页）

It is easy to imagine that she rarely engages in slavish imitation of nature; her pursuit of a sinuous and indirect form expression is thoroughly imbued with an Eastern aesthetic. In her quest for the interplay of irregular and serpentine contours, the colors in her work are not much a construction of three-dimensional depth, but rather an extension of the traditional Chinese concept of "five tones of ink" into the realm of oil painting. She on the traces left by her brush: the meaning, the power, and the charm of the brushstroke, all of which are deeply intertwined with the Eastern aesthetic. When these elements come together, they open up a myriad of possibilities for expression, allowing her to face the challenges and opportunities of blending Eastern and Western art forms such as the juxtaposition, connection, transition, and contrast of colors. As scholars have said, the day oil painting entered China was the beginning of Chinese figure oil painting. Every aspect of Eastern form and thought is a source of creation for Chinese figurative oil painting: form, color, line, pattern, aesthetic ideal and national psychology can all serve as reasons and driving forces for creation. "An oyster needs some material, a grain of sand or a small object, to a perfect pearl around it. Without such a hard core, it might grow into an amorphous mass. If an artist's sense of form and color crystal into a perfect work, he also needs such a hard core — a clear task that allows him to focus his talent on it." (The Story of Art, Gombrich, p. 329)

野 / 布面油画 / 33cm x 33cm Wild / Oil on canvas / 33cmx33cm

面对客观实体的主观意象的表达，在中国气派的形色挥写中还将出现怎样的格局，人们都充满热烈的期待。从油画进入中国，无数前人都在呼唤中国式的油画，前有“民族风”后有“意象派”，人们总算看到了这种古今交汇、中西融合的新语境，金凡已经走进并创造了属于自己的意象油画的语境，人们一定能在这奇异的语境中听到作者独特的心声。

The expression of subjective imagery in the objective entity, how will it unfold in the Chinese style of form and color description? People are eagerly anticipating it since the introduction of oil painting into China, countless predecessors have been calling for a Chinese style of oil painting. There was the "national style" before and the “imagery school" afterwards. People have finally seen this new context of the intersection of ancient and modern, Chinese and Western. Jin Fan has entered and created his context of imagery oil painting. People are sure to hear the author's unique voice in this extraordinary context.

繁 / 布面油画 / 33cm x 33cm Blossom/ Oil on canvas / 33cmx33cm

艺术家自述Artist Statement ：

艺术创作的领域是不可想象的，准确来说是指艺术创作所能触及到的领域是不可想象的，在人生的旅途中，我所关注和了解的人物、风景、甚至包括静止的景物都是灵感的源泉，此外还有想象，那是我内心深处的另一个世界。我知道不能总相信自己眼睛所能看到的所有物象，直觉告诉我它们不一定都是真实的，许多时候，要尊重自己的内心，对一颗敏感、丰富、执拗的心来说，每时每刻都会有新的发现。我欣赏那些恢弘的、张扬的外在形式，更尊重安静的、内心的声音，这种气质反映在作品上，成为作品的格调。

The realm of artistic creation is unimaginable, to be precise, the realm that artistic creation can reach is unimaginable. In the journey life, the people, scenery, and even static objects that I pay attention to and understand are all sources of inspiration, in addition to imagination, which is another deep in my heart. I know that I can't always believe in everything my eyes can see, my intuition tells me that they may not all be real. Times, I have to respect my own inner self, for a sensitive, rich, and obstinate heart, there will be new discoveries at every moment. I those grand and ostentatious external forms, but I respect the quiet and inner voice even more. This kind of temperament is reflected in my work, becoming style of my work.

逐 / 布面油画 / 33cm x 33cm Pursue/ Oil on canvas / 33cmx33cm

到目前为止，我仍相信绘画是最适合于我的一种表达方式，它已如此深入地介入到我的生活之中。画迹的种种昭示着画者的审美取向、精神轨迹，这是勿庸质疑的，我在绘画中寻找自己，享受在工作中自由抒发个性的愉悦。做为一个从事艺术创作的人，保持对事物的敏感、热情和关注是至关重要的，我们最优秀的老师就是自然。而自然，它总是无言的。

So far, I still believe that painting is the most suitable form of expression for me; it has become so deeply embedded in my life. The manifestations of painting reveal the aesthetic orientation and spiritual trajectory of the painter, which is beyond doubt. I find myself in painting and enjoy the freedom of expressing my individual in my work. As an artist, it is crucial to maintain sensitivity, enthusiasm, and attention to things. Our best teacher is nature, which is always silent.

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