【主办】半张图艺术馆

【承办】Chirps&Mews（璀璞小馆）/私印局

【赞助】上海屋凯装饰有限公司

【策展人】张一琤

【开幕酒会】2015/9/26（周六）6p.m. to 8

【展览地址】上海市静安区新闸路1513号璀璞小馆（近西康路）（靠近地铁2号线静安寺站）

 杏子、鹅莓和桑葚、紫葡萄和无花果儿青青，丰饶的产出将桀骜的自然带入生活的馈赠。经过人的巧手和匠心，蜜水黄桃邂逅慕斯的涡旋，馥郁香草缠绵起酥的千层；卷草舒花之心与细腻明媚之色自是连成一体，吟咏道彼时彼地希腊赫利孔山（Oros Elikon）泉水富庶，灌溉东麓圣地，并得到希腊神话中主司艺术与科学的文艺女神的守护，她们被誉为由酒神狄俄倪索斯精神所主宰技艺灵感之源与艺术的化身，集高尚文雅与疯狂炽情于一体，又在此时此刻的现代钢筋丛林里一瞥“游山玩水田园牧歌”的幻念中倏然现身。 

Apricot, strawberry, purple grapes and fig. The abundant harvest brings the mutinous nature to people’s life. Honey peach encounters the vortex of mousse, fragrant herbs exchange love with crisp; curly grasses and stretching flowers and the exquisite and sunny color integrate into one part chanting that the spring water in Oros Elikon flows to the holy land at the east side, which is safeguarded by the Heliconian maids in charge of arts and science and honored as the source of ideas and the embodiment of arts controlled by the spirits of Dionysus. It integrates nobility, elegance and craziness into one part and pops up in the delusion of glimpsing at “paying a visit to nature” in modern rebar forest.

纤巧、轻快、刻意、华丽，她们的舞蹈比鲜花的生命更短暂，她们礼赞生活的节日只在微小的一隅，她们宣称明眸的恋慕与舌尖的陶醉才是“此在”（Dasein）；又何以仅仅被当作裹腹食物，既然其中的非可食的因素或与可食无关的因素如此重要地筹划着她们的价值，谁人之心在其中寄托？谁人的自我在其中投映？世间万物千姿百态，我们都放在心中来品味，内心里把这些情致辨清方是知“物之心”，而在情致中倘有理解与回应即是知“物之哀”，为喜悦、为慰藉、为低徊婉转、为思恋憧憬，被化作婷崴画面中无限的空间，质朴的物质感、交错叠加的色层、丰盈的流动，干燥的龟裂......这些彼此矛盾的因素在婷崴的画中得以充分利用又难以预知，宛若摘下彩蝶儿粉翼娇红，颤映他眼中的月色溶溶；犹如，浓情蜜意的流星在漫长等待后璀璨花火的片刻，愿意被填上太多的幻想而显出脉脉温情——娓娓谓之生活与人性之真又在恬淡中不自觉地透露出一丝忧郁气息，这便是她们作为“甜品”的困境。

They are delicate, cheerful, deliberate and magnificent. Their dance has a shorter life span than flowers, they only praise respectively festivals in a tiny area, and they claim that only the affection of bright eyes and the intoxication of tongue tip are “Dasein”; then why they are only seen as food? Now that the inedible elements in them deciding their values are so important, whose heart can live in them? And whose ego can be reflected in them? We taste all various objects in the world in our heart, understanding the nature of objects only after identifying those temperaments and interests. If you understand and respond to the temperaments and interests, you will know the sadness of objects, feel happy and comfort for them, miss and admire them and be transformed into the limitless space. The conflicting elements including plain sense of materials, the overlapping color layers, the abundant flow and dry chaps are used repeatedly in drawings and unpredictable, like the redness of butterfly’s wings or the moon reflected in his eyes; they are like the moment when meteors flare after the long-standing waiting or the warmth showed because of being willing to be filled with too many delusions. Telling the truth of life and human’s nature and showing unconsciously some melancholy when ignoring fame and gains are the dilemma as “dessert”. 

《模糊意识》、《食蛋糕者》、《爱的年华》、《慢》、《晨之美》、《发展》、《认识》，婷崴在此次画展上为我们带来的一系列作品以对惯常既定俗成的操作方式的悬置开始，给予视觉充分徜徉的营造将“甜品”的命运带入敞开的状态下，一方面执住离弃栩栩如生般描绘对象的写实手法的端倪，另一方面在绘画语言的亚稳定与前个性化状态下，再次将母题带向诸多可能性的神秘。她引援安海姆·鲁道夫之言“视觉是主动的探索而非被动记录......视觉是人类心理的一种创造行为。”在一定程度上映衬了海德格尔用“此在”（Dasein）来界说人之存在时，表明唯有通过艺术，人生的此在及其世界才是可揭示的——因为“此在”不是一般的现实的沦陷者，而是不断向着诸多可能性绽出的创造性的实存者。

Those works including Confusion,Cake Eater, The Time of Love, Slowness,The Beauty of Morning, Development and Knowing, start with the suspension of conventional operation methods to put fate in an open state by the complete and cozy building of visual sense, which, in one hand, hold the clues of realistic approaches of the vividly described abandoned subject and in the other hand mystify the motif again in the metastable and personalized state. She cites Rudolf Arnheim’s words “visual sense is active exploration rather than negative records. And visual sense is a kind of creative behavior of human’s mentality.”, which echos that Martin Heidegger expressed when he used “Dasein” to define the existence of human that the Dasein of human can be unveiled only by arts because Dasein is not the common realistic loser but the survivor of creativity with various possibilities.

张婷崴说：“现代人的生活总是充满压力，而压力（Stressed）这个字倒过来看就是甜点（Dessert），若懂得把压力转换为动力，人生就会充满各式各样的甜点，因为它呈现的不仅是一种内在情感的释放，也是生命历程的书写记录。”她正是借笔下的姿态万千的“甜品”来向内在深处回溯，寓于情感，裹以泥露，披以霜华，宿之泠风，宿之旷野，散落在光阴的薄暮中......这些被赋予色调的情感既是危险的，又是救赎之灵。氛围的颤动犹如视觉的呼与吸，将绘画而带向显现的信服感，以及她们的无所不在，显得时而亲昵，时而妄想，轻纱帷胧......得以揭示并展开一个场域，栖留着欲念胜于记忆，作为守护。

Teresa Chang said: “modern people are always stressed, but ‘stressed’ turns into ‘Dessert’ after being reversed. If people understand how to turn pressure into motivation, their life will be full of various desserts, because it is not only the release of internal emotion but the records of life course.” She takes advantage of her various ‘desserts’ to review the bottom of heart, fills them with emotions, dresses them with frost, places them in breeze and in the open field and scatters them at dusk. Those emotions filled with tones are dangerous but helpful in redemption. The vibration of atmosphere, like the breathing of visual sense, makes drawings look like obviously convincing, and the ubiquity of them seems honeyed sometimes and delusional at other times, which facilitates opening an area to house desires, better than memories, out of the consideration of safeguarding.