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一 一：李洁、全宝双人展

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展览介绍

  书写光阴 ── 关於李洁的绘画

 

  李洁的作品没有色彩，没有过分造型的痕迹，没有刻意的形式感，更没有令人费解的思维游戏。当我面对画面中成千上万的钉子和丝丝入微的织物纹理时，时间便瞬息似水，暗涌而出，随即又渐渐消散于平淡的画面之中，化为乌有，如此反复，一起一落，微妙已极。

  在和李洁的闲谈当中她提到，她的作品更像是一种关乎时间的行为。的确，李洁用最为原初的方式书写了人对时间的生命体验，即所谓的时间感。这种时间感有别于物理学所定义的时间概念，它是绵延于“我”的生命存在之中的。如此难于言说的感受在李洁日复一日的轻描淡写中得以铺陈展开，这个过程并不畅快，而是娓娓而来、绵绵不断的。可以想见，李洁的创作过程一定是需要极大耐心和定力才能得以继续。这种方式更近乎于修行，虽是重复，却绝非简单复制，其间渗透的是每一次重复的心得与喜悦。单看作者在每一笔上倾注之心力，便可获悉其存在在那一刻的生命实感，哪怕只进展一笔、只多描绘一个螺钉，也已足够。

   久久静观李洁的作品，我仿佛觉得每颗螺钉都似一个确切的生命般坚实的存在著，它们在书写寸寸光阴的同时，也作为“物”承载了工业文明留存于人类生命中的岁月痕迹。                                                                        

                                                                                                         ​​2014年5月写于北京​ 

 

 

唯此 ── 关於全宝的绘画

 

  从素描到油画，全宝画了几十张枕头。见到他作品的人大多都会问“为什么”，有意思的是，在得到答案之后，便没有问题了。在我看来，这个“为什么”都不那么重要，重要的在于全宝的作品直观得让人无需多言。

  全宝曾有近十年时间在狭小的地下室里工作生活的经历，这期间，他并没有努力让自己的作品去迎合甚嚣尘上的所谓“当代”。绘画在他的生活之中好似吃饭睡觉般日常，却又必不可少。于是地下室中目光所及之处都是他继续绘画的根据。紧绷绷的视点、角落、局部、没完没了的床单和枕头，所有这些都只为告诉自己生活在继续，仅仅如此而已。​

  真正的生活应当存在于不可比较之处，人也只有生活在了不可比较处，才会触发所谓的“命运”。我确信真正的习艺之人一定如此，绘画对于全宝正是不可比较的选择。全宝的生活便“唯此一事”，也必唯此一世。

                                                     2014年5月写於北京

 

Records of Time — About Li Jie’s Works

 

In Li Jie’s works, there are no lavish colors, no hints of excessive polishing, and no unnatural formalism. What’s more, there are no puzzling mind games. Faced with thousands of screws and the elaborate fabric textures, I suddenly feel that time gushes subtly like water for one moment but dissipates gradually into the plain tableau at the next one, and finally vanishes without any trace. The feeling repeats like this. In the appearance and disappearance of time, extreme subtlety emerges.

 

During our chatting, Li Jie mentioned that her works were more like an activity about time. That’s true, she keeps track of human beings’ life experience about time in the most original way, which is the so-called Sense of Time. It differs from the time concept defined in physics and it stretches in the existence of My Life. The feelings that are so hard to express are displayed in her continuous composing day by day. The process is not so hasty to finish but is coming in a straight and lasting way. It can be seen that Li Jie’s composing process can go on only with great patience and strong will. The composing way is more similar to an ashram. Although it is repeated everyday, it is by no means duplication. What penetrate among them are perceptions and happiness got from each repeating. Only by observing the mental and physical efforts that the writer invests in each stroke, we can learn that at the moment when she is finishing them, she can feel the real existence of her own life. To finish another stroke or to depict one more screw is satisfying.

 

Appreciating Li Jie’s works in silence for long, I feel as if every screw exists firmly as a concrete life. While they record the precious time, they, as objects, also carry the traces of years that are left in the life of human beings by Industrial Civilization.

                                                                                                      Beijing, May 4th, 2014

 

 

The Sole Choice — About Quan Bao’s Works

 

From sketches to oil paintings, Quan Bao has composed dozens of works about pillows. Seeing his works, most adults will ask “Why?” However, it’s interesting that after they have got the answer, no questions anymore. In my opinion, this “Why?” does not matter that much. What really matters is that Quan Bao’s works are so visual that any explanation is unnecessary.

 

Quan Bao ever lived and worked in a narrow basement for almost ten years. During those years, he did not compose to cater to the so-called “contemporary”, which has been so rife. Painting, just like eating and sleeping, is normal in his daily life, but necessary. Thus, whatever eyes could see in the basement became the reason to continue composing. Strained points of sight, corners, parts and endless sheets and pillows, all these are simply to tell himself that life still goes on, nothing more.

 

True life defies any comparison among choices. Only when a person chooses to follow his own heart and refuses to compare this choice with other alternative ones, can he trigger the so-called “Destiny”. I firmly believe this is true for those who really learn arts. For Quan Bao, painting is the choice defying any comparison. “The Sole Choice” in his life and “The Sole Choice” for his whole life.

                                                                                                     Beijing, May 4th, 2014