A Piece of Paper | 一页纸

March 19—June 12, 2016|2016年3月19日—2016年6月12日

Opening Reception|开幕酒会: March 19, 2016, 5-8 pm|2016年3月19日,5-8pm

RSVP required (rsvp here, or email info@fougallery.com) | 预约请点击, 或发送邮件至info@fougallery.com

Artists: Chang Yuchen, Xinyi Cheng, Michael Eade, Lin Yan, Zhangbolong Liu, Morgan O’Hara,  Wei Jia, Zhe Zhu.

艺术家:程心怡、常羽辰、迈克尔·伊德(Michael Eade)、林延、刘张铂泷、摩根·奥哈拉 (Morgan O’Hara)、韦佳、朱喆

Press Contact:Ning Ding (pr@fougallery.com; 1.347.326.1580)

媒体联络:丁宁 (pr@fougallery.com; 1.347.326.1580)

Installation View | 展览场景照片

Artist’s Page | 艺术家页面 

Chang Yuchen 常羽辰

Xinyi Cheng 程心怡

Michael Eade 迈克尔·伊德

Lin Yan 林延

Zhangbolong Liu 刘张铂泷

Morgan O’Hara 摩根·奥哈拉

Wei Jia 韦佳

Zhe Zhu 朱喆

 

 

 

Location|地址: 410 Jefferson Ave, #1, Brooklyn, NY11221|纽约布鲁克林区Jefferson大道410号#1

Hours|画廊开放时间: Saturday 2-6 pm, or by appointment|周六2-6 pm,其余时间请邮件预约

 

Fou Gallery is pleased to announce A Piece of Paper, a group exhibition of works on paper or inspired by paper, on view from March 19 to May 8, 2016.Traditional Chinese painting and calligraphy artists who work on handmade paper considerpaper selection an indispensable part of their artistic creations. The pattern, texture and perviousness of the paper directly affect a work’s presentation, and they sometimes even become part of the image. Japanese woodblock print artists in the 17th and 18th century first adopted Kozo paper, and they kept refining paper making techniques to present more elaborate Ukiyo-e. Western painters not only use works on paper as reference sketches for much larger paintings, but also value them as independent works. Compared to large-scale oil paintings, works on paper are more intimate and accessible, reflecting artists’ personal thoughts in the studio. Contemporary artists utilize paper in more diverse ways, often combining and rearranging it as media, material or source of inspiration. In this exhibition, works from eight artists with various cultural backgrounds reveal the endless possibilities within a piece of paper.

In 2012, Chang Yuchen started her experimentations with various art forms and materials such as copper plate etching, sketch, mulberry paper, and accordion book. Her previous series Snake adopted different methods, and images of snake skin recorded the process of time and the damage of medium, resulting in ever-changing fine patterns. For this exhibition, she will present a thin and fragile installation of etching on Japanese paper. Floating patterns of hearts, printed on a long scroll of Japanese paper, hang from the ceiling to the floor, which are continuous with her explorations of printmaking and paper.

In Xinyi Cheng’s oil paintings and watercolors, images of a hairy white man are repeated again and again to bring up her personal experiences and characteristics. Compared to the sentimental element and emphasis on color found in her paintings, her watercolors reflect a more abstract and freer spirit. Figures with various poses dissolve into dreamlike scenes, and viewers’ attention is drawn to these figures’ dilemmas and existences when they examine the absurd story and borderless brushstrokes in her work.

Tree is a repeating metaphor in Michael Eade’s work. His prints reflect his on-going exploration of creating landscapes depicting real world places associated with mythologies referencing Eastern and Western art historical landscape formats. The two-block linocut, Sea Grape Branch, is inspired by watercolors and egg tempera studies that he created during residency at The Hermitage Artist Retreat (2010-2014) on the Gulf of Mexico, where the myth of the Fountain of Youth historically exists. For these delicate woodblock print works, the audience is invited to receive a dramatic and even overwhelming viewing experience. An all-embracing pattern is hidden in his delicate depictions—plant landscapes with various densities on handmade Japanese Misu paper, offering a familiar yet perplexing visual paradox.

Since 2005, Lin Yan started her practice of presenting eastern philosophy and immediate experience through ink and traditional handmade paper. In her works, Xuan paper is usually transformed into heavy, multi-layered forms, which fully reveal their personalities and rhythms with the help of lighting and space. At the same time, she also fabricates hard bricks and metal-like materials from Xuan paper. Patterns of plant fiber are condensed into natural and cultural images while peacefully mirroring struggles and vitalities in social unrests.

In his Traces series, started in 2012, Zhangbolong Liu attempts to document objects that have already disappeared completely from view, or, rather, his subject matter is to capture the “existence of non-existent things.” Within Liu’s photographs, time is seen to be the manipulating force over the traces left behind by removed objects. Through an empty slideshow, missing objects in a museum showcase, leftover pinholes on isolated wallpaper and wrinkled bed sheets that have not yet been flattened out, the so-called “non-existent objects” are able to declare their existence after all. In this vast and ever changing universe, it seems as though fixed objects are, in fact, in a state of ceaseless transformation as well. The process of photographing their “traces” enables Liu to engage in the complex relationship between internal perception and external change, as well as documenting and affirming their existence.

For Morgan O’Hara, paper and pencil are both the recording media and the presentation subjects of her conceptual art. In her LIVE TRANSMISSION series from 1989 to the present, intertwining yet lively pencil lines live transmit fluctuations and traces of life. Through her sharp, carefully controlled lines and orderly gestures, traces of various movements – whether by a passionate chef, a devoted shoemaker, or an elegant dancer – manifest O’Hara’s primordial nature and immediate concern for life.

Wei Jia has been pursuing an inseparable practice of combining personal memory and artistic creation. In his experimentation of seeking compatibility with ink and western art, he uses charcoal to copy calligraphy works in a random manner. Through repeated layering and re-tracing, a sense of distance and void gradually emerges from the translucent image. He also challenges and breaks the traditional technique and principles of calligraphy. By writing and dripping ink on Xuan paper before tearing them up and rearranging the images, Wei Jia tries to find a balance of threshold through eastern and western abstract elements.

Zhe Zhu started his Vanitas series in 2012. Inspired by “vanitas,” a type of symbolic still life paintings that flourished in Flanders and the Netherlands in the 16th and 17th centuries. These paintings often use decaying flowers, rotten fruits, skulls, bubbles, clocks and other symbols to represent the meaninglessness of earthly life and the transient nature of all earthly goods and pursuits. For his work Fast Food, which will be shown in the exhibition, the artist gathers objects that are in different stages of consumption or decay, and arranges the photographic setting according to the aesthetics of vanitas paintings. Greasy fast food wrapping papers juxtapose with decayed flowers and foods, presenting a mimesis of time while conveying personal moods in an era of consumerism.

Download the full press release here.

 

 

 

 

 

Lin Yan, Dew #2, ink on paper with wood, 28 x 30 x 20 in., 2015. © 2016 Lin Yan, courtesy Fou Gallery

林延,露2,木、墨和纸,71 x 76 x 51 cm,2015. © 2016 林延,致谢否画廊

 

 

 

 

 

 

Chang Yuchen, Heart Sutra, etching on paper, accordion bound, 4.5 x 8 in. x 12 pages, edition of 12, 2015 .© 2016 Chang Yuchen, courtesy Fou Gallery

常羽辰,心经,纸上铜版画,风琴书装订,11.4 x 20.3cm x 12页,12版,2015. © 2016 常羽辰,致谢否画廊

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否画廊很荣幸地宣布,我们将于2016年3月19日举办群展《一页纸 | A Piece of Paper》,呈现八位不同国籍的艺术家以纸为媒介,材料或者灵感来源创作的作品,并于2016年3月19日下午5点至8点举行开幕,需要预约参加。展览将持续至2016年5月8日。

在手工纸上创作的传统中国书画家,将挑选纸作为创作过程中重要的组成部分,纸的纹理、质地、渗水性直接影响到作品的呈现,甚至成为图像的一部分。日本17、18世纪的浮世绘版画家,最早采用手工制作的桑皮纸Kozo,为制作更加精细的浮世绘不断改良造纸工艺。西方画家不仅将纸上作品作为最终大型画作的小稿、草图,也将纸上作品作为一种独立的媒介看待。相比大幅的布面油画,纸上作品更加亲切和平易,透露出艺术家在工作室的个人思考。当代艺术家对纸的运用更加多元,将纸作为载体,材料,或者灵感来源随意组合和创造。本次展览的八位艺术家的作品,便体现了一页纸中蕴含的无限创造力。

林延从2005年开始用水墨与传统书画手工纸传达东方哲学与直接经验。在她的作品中,宣纸常被塑造为极富重量而多层次的形态,借由光线与空间的辅助,释出饱满的个性与变化节奏。同时,她将宣纸翻铸成坚硬质地的砖瓦或金属,植物纤维的肌理凝练成作品中的自然及文化意象,平静地表现出在社会变迁动荡中的挣扎与生命力。

韦佳始终将个人记忆与创作过程结合紧密。在对水墨与西方艺术的兼容尝试中,他在多层宣纸上用碳笔随机临摹书法作品,通过反复的覆盖和重新描绘,使半透明的画面渐渐浮现距离感与虚空的影子;或对传统技法规则展开反叛,在宣纸上书写和泼墨,再将形象撕毁重新拼贴,在中西方抽象因素中寻求临界点的平衡。

朱喆历时两年创作的“维尼塔斯”系列灵感来自于十六、十七世纪荷兰虚空派 (Vanitas)静物油画。在这些油画里,象征生命力的物件如水果、花朵,常常与象征衰亡的物件如头盖骨、 沙漏并置,暗示转瞬即逝的欢愉与悲伤。在展出作品《速食》中,朱喆将经过不同程度消费后的物件再组合,浸渍油腻的快消品包装纸与腐坏的花束、食物演绎出时间的拟态,带有深重的油画感,又被赋予消费时代下凝练的个体情绪。

刘张铂泷的“痕迹”系列开始于2012年,尝试记录消失的事物,或“不存在事物的存在”。在他的摄影中,时间成为痕迹的操控者。透过空无一物的幕布,被撕扯的书页,布满小孔的墙纸,被移除的“不存在事物”得以宣告自我的存在。浩瀚的宇宙在变化中得以运行,看似恒定的事物其实不断在流动。拍摄痕迹的过程让刘张进一步思考个人感知与外界变化的关系。

在程心怡的油画与水彩中,毛发浓密的白人男子形象被反复用来重现她的个人经验与性格面貌。相较于其油画作品中敏感的情绪与对色彩的强调,她的纸上水彩更为自在抽象。表情单一的人物们以不同姿态溶解于幻梦般的场景,荒诞的情节与笔触无序的背景凸显出其所处的困境与存在方式。

常羽辰从2012年开始实验铜版画丶素描丶桑皮纸丶风琴书等各种材料和形式。此前创作的“蛇”系列运用不同技法,画面中蛇皮记录了时间与损毁的过程,构成不断变化中的细腻纹理。在此次展览中,她将呈现轻薄而脆弱的铜版画装置,深浅浮动的心脏图案印制在长长的日本纸上,从天花板垂至地面,延续其对于印刻动作与纸质媒材的探索。

迈克尔·伊德热衷于对自然景观,尤其是树这一形象的再造。他常常故意绕开传统观看的角度与色彩概念,将个人的意识与东西方手法不动声色地植入画面,邀请观者参与富有戏剧性、排山倒海而来的观看之旅。在他的木刻版画作品中,纤细的描绘里藏有包罗万象的形态,日本美栖纸承载了墨色疏密的植物景观,有悖视觉经验的层次编排使画面似曾相识却又使人犹疑。

对于摩根·奥哈拉来说,纸与笔是其观念艺术的记录媒介与表现主体。在她起始于1989年的“场境转化”系列中,缠绕而灵动的铅笔线条实时传送了外界的波动与生命迹象。厨师的力道、鞋匠的敲打、舞者的翩跹,都被她用锋利的笔触和有条不紊的手势输出。这些不同强度的运动轨迹,展现出原生的性情与古典绘画般的精细控制,是她对生命与生活最直接的关切。

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