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裹挟之魂01

裹挟之魂01

  • 编  号:585632
  • 作  者:王永学
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裹挟之魂01

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尺寸 170x130(cm) 创作年代 2012年
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王永学

王永学

出生年份: 1981
籍  贯: 辽宁-铁岭

作者介绍

艺术家自述

纸张于我来说天然就是亲近之物,铅笔也成为了我主要的绘画工具。无数的笔触在纸上划出印痕,反复叠加的印痕形成印记,周而复始,像是种修行,我用这最为笨拙的方式去创造朴素的灰色空间。

当信息时代大同的教育经验、个人经历让我们被迫趋同而缺少创造力;当信息过剩、实时共享使我们难以始终保持个性;当架上绘画的局限性日益明显,甚至“架上绘画”这一名词也鲜少被提及,我们多选择更具视觉冲击力的多元语言或跨界表现形式,来打破视觉上的审美疲劳。我在早期作品中,多为发泄情绪、直抒胸臆,追求视觉上的荒诞与矛盾,将形象夸张、扭结在画面中。

然而随着创作的逐渐成熟,我渐渐的从这种创作思维中跳脱出来,以更为客观和理性的态度来审视创作意图,在创作过程中也更加注重内在观念、实验性。反而更愿意安身于这局限——我想寻找介于其中的可能性。如这繁杂又单一的世界;相似又不同的无数个体,那介于看似矛盾违和之间的是什么?定是有无实体的真实存在。就像树木葱茏,繁花迷眼,浅草隐迹。因此必须抛弃不必要的浮夸,回归朴素。

关于空间,在我最初尝试用无以计数的笔触来经营画面时就已发现了它在空间表现上的不同,铅笔形成的肌理在平面的空间网中引入了一层断裂,这种断裂破坏了经验世界中对于空间理解的一般性意义,这样就有了一种多重解读的可能性,从而使超验性成为一个以经验世界为表现的反主题。

关于物象,我选择更为常见的,简单的事物作为我的创作主体。“宿”系列的创作由来是个偶然——暴雨过后的清晨,破碎的喜鹊窝散了一地,我将它们拾到一处重新编织,就这样一个破碎的“巢”竟成了我“宿”系列作品的缘起。在“宿”系列中我尝试将物象在灰色空间的裹挟中形成若隐若现的烘托,而在随后的“衍生”中则是我对形体在灰色的空间中的彻底释放和破坏,就如破碎的“鸟巢”。再如,我的“相” 系列作品,选取最为普通的树干,取其形象舍弃对树干细节的刻画,让形象渐渐消融到空间之中。肌理在画面中形成“断层”,使能指(画面形象)与所指(实际形象)并非一般意义上的指代替换,画面中的肌理在表现形象的同时也在否定形象。“具象”高度概括后的“抽象”使“形”和“相”有了一种不同的视觉体验。主体本身是“具象”的表现,但在画面中却给人一种“抽象”的概念(我们的周遭事物充满了高度真实的抽象),五个树干,五幅画面,看似趋同却又不同。另,《相形之惑》是之前的“荆棘”系列的一个延续——相对的人物形成镜像的四联幅作品,中间两幅是相对抽象的荆棘巢和树干。几个事物之间似乎形成一种关联,却又相对独立。

几个系列作品的阐释后能够在我的画面中看到一种非连续性,物象处于一种被悬置的状态(一般的形象,动作,位置的意义暂时被悬置),从而取代了物象间的间距,肌理对于物象的破坏和重组使我放弃了对于事件性内容的表达。这样物象对于我而言就没有了特定的指向性,物象之间,物象与空间之间的间距在肌理的破坏与重新建构下形成了微妙的互换。

我对艺术创作的体会是向内的,并自我陶醉这极为枯燥的反复。艺术家由于个人追求和审美取向的不同,使得作品的侧重有所不同。但只要是真诚可感的作品,无论是由眼达心的还是由心达眼的作品,都是值得被欣赏的。

Paper is very close to me, and pencil is my best tools. Numerous strokes fly past on paper and left prints, prints superimposed to form imprint repeated, again and again, like a kind of practice, I use this most awkward way to create simple gray space.

When the educational experience in the information age, we are forced to tend to personal experience and the lack of creativity with the same; information overload and resource sharing makes it difficult to maintain individuality; limitations of painting has become increasingly evident, even "easel painting" of the term is rarely mentioned, most of us prefer to choose more visual impact of cross-border multi-language of expression, to break fatigued visual. In my early works, there is full of emotions from my heart, I relieve my feelings,i seek absurd and contradiction in the image ,I overstate the image in my works.

With the maturity of my creative, I gradually come to a more objective and rational attitude to look at creative intention, I pay more attention to the inherent concepts and experimental things . This limitation would be more like - I want to find one of the possibilities. Similar but different countless individuals, between what is contradictory; such as this complex has a single world? It must be a real existence, like woods and flowers in full bloom. Therefore i need to abandon unnecessary exaggeration, return plain. When I first try to run the screen countless strokes of the pencil had found differences in the performance space, texture pencil introducing a layer formed fracture plane in space, this rupture destroyed the space for image understanding , but it brings more readable.

About the image, I chose the more common things as my creative content. "Home" series is a chance creation - the morning after the storm, broken magpie nest scattered over the floor, I would pick up a re-weave them, so a broken "nest" became the origin of my "Home" series . In this series I try to contrast the images form a looming gray space in coerced, and in the subsequent "derivative" is in my body in the gray space completely release and destruction, as broken. "Bird's Nest. "Again, my "Universe" series of works, selected the most common trunk, whichever is the image portrayed abandon the details on the trunk, so that the image gradually melt into space. Texture formation in the picture "fault" that can mean (screen image) and the signified (the actual image) does not mean a general sense instead of changing picture of the texture image in performance while also negative image. "Figurative" highly summarized after the "abstract" so that the "shape" and "phase" has a different visual experience. Subject itself is "figurative" performance, but in the picture it gives a kind of "abstract" concept (in our surroundings is filled with highly realistic abstract), five trunks, five screens, but seemingly different convergence . Also, "the confusion dwarf" is a previous "thorns" series continues - relative figures mirrored quadruple works, the middle two are relatively abstract thorns nest and trunk. It seems that the formation of an association between several things, but relatively independent. I do not want to simply "description" content, so I prefer to choose simple image, so that the images of the significance mount up. Such images do not have a specific directivity, become a kind of counter-theme of transcendence.

I appreciate the inward artistic creation , I revel in this extremely boring repetitive. Due to different personal pursuits and aesthetic orientation, making somewhat different focus works. But as long as the works are pure-heartedness ,it is worthy of appreciation.

 


 

王永学简历

1981年出生于辽宁省铁岭市,2002年考入鲁迅美术学院版画系版画专业,2006年毕业获得学士学位。2010考入鲁迅美术学院水性材料工作室。2012年毕业获得艺术硕士学位。

 

个展

2012年,《结局或开始》王永学绘画作品展 ,鲁迅美术学院美术馆,沈阳;

2011年,王永学水性媒介纸上作品展,鲁迅美术学院美术馆,沈阳;

参展记录

2013年 ,《濳之一》《理想会飞现实会跑》2013“SURGE Art艺起”上海,成都艺术节,上海/成都;

2013年,《野猪肖像系列》入选  2013“SURGE Art艺起”北京艺术节,北京;     

2012年,《弄景系列之变色龙》入选 “回归”一种视觉的方式 鲁迅美术学院美术馆,沈阳;

2012年,《荆棘之二》入选  今日美术馆举办的“2012之舟” ,今日美术馆,北京;

2012年,富隆杯当代大学生年度提名展;   

2011年,《暖》入选第二届中国当代学院水彩艺术展,中国美术学院,杭州;

2011年,《人体五联幅习作》入选辽宁省绘画作品展,辽宁美术馆,沈阳;

2009年,《夏天NO4》入选中国第九届铜版/石版/丝网版画展,中国美术馆,北京;

2007年,《夏天NO3》入选 第十七届版画年展,上海美术馆,上海;

2007年,《夏天NO2》入选台湾版画双年展台湾美术馆,台湾;

2006年,《夏天NO1》入选第二届中韩版画交流展,弘毅大学美术馆,韩国;

2006年,《夏天NO1》入选全国高等美术院校版画教学与创作年会,天津美术学院,天津;

获奖

2012年,《荆棘之二》获得 “2012之舟”富隆杯当代艺术院校年度提名展,银奖;

2012年,《无轨之车》获得鲁迅美术学院研究生年度优秀毕业作品,优秀奖;

2006年,《夏天NO1》获得全国高等美术院校版画教学与创作年会,优秀奖;

2006年,《夏天系列》获得鲁迅美术学院年度优秀毕业作品,优秀奖;

 

Wang Yongxue

1981  Born in Tieling,Liaoning Province;

2006  Graduated from Department of Print in Luxun Academy of Fine Arts, got bachelor’s degree;

2012  Graduated from Department of Water soluble materials in Luxun Academy of Fine Arts, got master’s degree.

Solo Exhibitions

2012  Ending or Beginning—Works of Wang Yongxue Exhibition  Luxun Academy of Fine Art,Shenyang;

2011  Water Materials Painting On Paper—Works of Wang Yongxue Exhibition  Luxun Academy of Fine Art,Shenyang;

Group Exhibitions

2013 《Hidden NO.1》《The Flying Dream,The running Reality》 “SURGE Art Yiqi”Shanghai Chengdu Arts Festival, Shanghai /Chengdu;

2013 《The Portrait of Wild Boar Series》 Beijing Arts Festival ,Beijing;

2012  《Artificial Landscape--Chameleon》  “ Return—A Way of Seeing” Luxun Academy of Fine Art ,Shenyang;

2012 《Bramble NO.2》  “The Boat of 2012”—Aussino Cup Today National Art Students Annual Awards 2012  Today Art Museum,Beijing;

2011 《Warm》  The 2th China Contemporary Watercolor Exhibition  China Academy of Fine Art,Hangzhou;

2011 《The Exercise of Five Human Body》 The Painting Exhibition of Liaoning Province,Shenyang;

2009 《Summer NO4》 The 9th National Three Printmaking Exhibition  China Art Museum,Beijing;

2007 《Summer NO3》 The 17th National Printmaking Exhibition  Shanghai Art Museum,Shanghai;

2007 《Summer NO2》 Taiwan Prints Biennale  Taiwan Art Museum,Taiwan;

2006 《Summer NO1》 The Second China And South Koran Exchange Exhibition,Koran;

2006 《Summer NO1》 The Annual Print Works Exhibition of Higher Education Tianjin Academy of Fine Art,Tianjin;

Awards

2012  《Bramble NO.2》 won the silver prize in  “The Boat of 2012”—Aussino Cup Today National Art Students Annual Awards 2012;

2012 《The Train Without Track》won the outstanding prize in The Outstanding Works Exhibition of Luxun Academy of Fine Arts;

2006 《SummerNO1》won the academic prize in The Annual Print Works Exhibition of Higher Education;

2006 《Summer Series》won the outstanding prize in The Annual Print Works Exhibition of Graduation in Luxun Academy of Fine Arts;

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