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阳春一面 

出 品 方：高维艺术

策 展 人：马玉洁

展览时间：2019.4.14—2019.6.1  9:00—17:30

（周三及法定节假日闭馆）

艺术家见面会：2019.4.21  14:00—15:00

展览地址：杭州市赞成大厦3号楼3楼

参展艺术家 Artists

余鲁超前 YuLu chaoqian

莫隐 Mo Yin

王晓磊 Wang Xiaolei

四月，春意正浓，气象万千。当代艺术，亦是如此。在春深似海的四月，高维艺术迎来了余鲁超前、莫隐和王晓磊三位青年艺术家的春佛之作。

Spring Meeting

Producer: GalwayArt

Curator: Ma Yujie

Exhibition time: 2019.4.14—2019.6.1  9:00—17:30

(Closed on Wednesday and legal holidays)

Artist Meet-up：2019.4.21  14:00—15:00

Exhibition address: 3F, No.3 of Zancheng Building, Hangzhou

Artists

YuLu Chaoqian

Mo Yin 

Wang Xiaolei

▎YuLu Chaoqian

As a creator of painting, the works left by Yulu Chaoqian were monotonous descriptions purely observed.

However this kind of pure observation will fling yourself into the world of meditation, experiencing a pure sense of pleasure. After being totally captured by the infinite space of the objects, your eyes meet the circulation of changing-colour, emerging and disappear, and re-emerging, re-disappear. It is in this situation where our acknowledgement of certain objects mingling with the pure observation of unfamiliar appearance that distinctive cognition occur. 

They are strange to you when perceive in this way with infinite space covering the paintings. But daily experience is not good enough in pure observation for it is not always harmonized with the observation, however,in most situations, you would stop observing and turn to your experience, then repeat it again. Under this circumstance, your eyes would be too faint to tell whether it is real or not, that is, a sense of void, and what you have seen goes beyond your daily cognition that the surface of the object appears in great spatial order, proper, logical, but profound and mysterious.

Little will be known about the knowability of the object after pure observation, and the unknowability is just as infinite as its surface. This experience also happens after reading some popularization of science telling scale and distance between human beings, and the earth, the solar system, the milky way. The world resides in a space of either infinite or finite that  even surround us.

Painting is the best way to record this kind of observation because we apprehend everything’s surfaces by our eyes, in a pure way, wondering at the edge of the Known and the Unknown. There is limitation of painting-it is static-which also can be deemed as its advantage, because behind the static world a world of infinite hidden. 

Unlike film literature, painting is the gift to gaze, featuring a sense of concretion. Things in the real world is presented in a plane of scores of square centimeters in proportion.

▎Mo Yin

Images of Mo Yin are, mostly, in contradiction full of absurd memory fragments. Combinations of multiple dimensions obscure the reality among them,  and he also tries to express them from traditional ancient painting technique-cavalier perspective.

On one hand, he regards comprehensive materials as intermediary to extend the possibilities of their  utility in contemporary art. On the other hand, by the means of oil paintings, he reconstructs the languages system of its own from the perspective of technique, form, and visual one.

The absurd space deviates from instinct reception of our eyes, but it enlightens. Surpassing the visual limitation of our eyes, painting is miniature of multiple dimensions which coexist in a picture, as it tells there are not only human beings in the universe.

“When the grove faded away at the end of the brook, he found himself in front of a mountain with a small opening from which a light loomed.”  That is how Tao Yuanming started his story of An Idyllic Land of Peach-Blooming Spring. Since Wei and Jin dynasties, Idyllic Land of Peach-Blooming Spring has been a sustenance of spirit, the homeland of culture. Then, in which way the Idyllic Land of Peach-Blooming Spring in contemporary era is displayed?

The Series of Implicit works not only extend the space in the way of geometrical light, but also indistinctly internalize the light in the passage of time. Lao Zi, a famous philosopher in ancient time in China, once said that, "Tao, as a real existence, is sometimes in trance that harbors everything and their essences, true and authentic" and the objects painted by Mo Yin is exactly true of that, and just as he said: as if there was light.

▎Wang Xiaolei

THE PROJECT OF THE RECLAMATOIN OF WESTLAKE , series work of Wang Xiaolei, are his re-interpretations of the scenery of West lake in a conceptional way.

There are two levels of these works. First is to show a constitutional research of the abstract scenery of conceptual West lake with picture consisting of the fundamental elements of gradation and blocks of colour. The final work is a conceptual form characterized by the unique demonstration with coverage and occlusion combined and, by means of simplify and detachment.

Second, make use of aerial and time perspective, the artist tries to extend the dimension and distance of the subject and the object, hoping to establish a relationship of bi-dimension opposition between them.

The change of scenery form from Figurative painting to abstract one has become an independent clue from the contents of paintings, which also means that during the process of creation, Wang Xiaolei produce his paintings from the perspective of the observer not he himself. Thus, everything in the painting follow the visual reception of the observer alone. In this way, a conceptual scenery painting may be well-demonstrated.  

杭州市上城区赞成大厦3号楼3楼 高维艺术空间

地铁站：4号线 南星桥站 E／A口出，沿飞云江路步行约300米

公交车站：钱江路飞云江路口， 13路／113b线／116路／176路／178路／195路／b支3c线／b支3路

停车场：赞成大厦停车场／赞成中心停车场

开馆时间：9：00-17:30，周三公休