朱心宇 张安作品展

朱心宇：秩序轨迹

朱心宇近几年专注于绘画的秩序，空间的节奏，绘画的痕迹与质感等话题的表达。这源起于在云南、内蒙古两地的写生经历，朱心宇在陌生的视觉景观中发现了一种类抽象的自然秩序，这激发了心宇一种全新的视觉经验。

他开始搁置具体的经验，将线与色的运动和叠压作为表述方法，有意识的动作和不经意的留痕开始在画面中形成一种关系，朱心宇则不断的打破这种关系，而后进行再一次的重组，最后形成一个多层次的视觉结构。这次展览呈现的作品是他对于这一话题的最新思考，如何在绘画的行为轨迹中挖掘语言和形式的可能，寻找自由意识和绘画秩序的契合。

张安：景观寓言

如何将经典的语言方式与当代绘画的视觉资源相结合，张安以他的绘画实践提供给我们一个视觉样本。张安的作品与个人的经验记忆和生存境遇相关，那些被时代遗弃的公共设施和私人生活的场景，都成为他笔下被无限聚焦的纪念物。身处高速变化的社会空间中，张安却有意地降下速率，以慢节奏感知对象的存在，用细腻的蛋彩坦培拉技法，以经典写实的语言手法从容不迫地传递出一种超越真实的不可知力量。他在以个体经验介入当代社会的同时，也在无处安置的废墟遗迹中找到了自己心理位置。

并且，张安并没有以直接的笔法来面对社会发展带来的诸如拆迁、改造等问题，而是通过隐喻、象征的手法重新营造一种精神性的视觉寓言。他使用间接画法和古典形式在画面中去除了人物的痕迹，消解了叙事的因果，被深邃的灰暗光线笼罩下的水磨石地面、泥泞的车辙、晦暗的夜路、拆迁的残痕成为画面的中心。给它们一抹幽光，张安将它们与原有的环境脱离开来，用“超越真实”的语言方式将这些视觉印记深深的铭刻在画面中。表面上看起来是一种“去自我化”的姿态，实际上借“纪念碑”之名将物我一体化，通过技术语言的不断深入实现主体感觉和观念的层层浸入，甚至将隐藏在图像中的嗅觉和触觉感受都挖掘出来。技进乎道，艺通乎神。通过不断的反复折腾，张安将他的历时体验与废墟遗迹的质感相互塑造，成为超越现实景观的美学客体。他的表达远比现实深刻，时间和记忆所遗忘的，被他深刻地感知并赋予一种精神张力，让我们在不经意间感受到来自内心的悸动。

张安以他的敏感和执着创造出一幅幅寓言式图像，深幽、神秘的气质最终升华为带有崇高性的精神内涵，既象征着时空的绵延，也隐喻了文明形态的不断更迭，还带着一缕诗意的抒情。

——汤宇

前言

朱心宇和张安都师出于中央美术学院油画系第三画室，但两人的作品风格形态迥异。这也恰恰印证了三画室的教学理念，不以某种风格流派为导向，主张兼收并蓄；以发挥学生个性为前提，因材施教，使学生逐渐自觉探索自己的艺术方向。

因此，他们的作品以双个展的形式呈现，就好像是同一尺度体系之下分裂的孢子，和而不同。朱心宇更多从绘画的行为过程中生长的视觉痕迹入手，试图建立起属于自己的语言逻辑。张安则是逆向在写实绘画系统内不断深挖，直追西方古典绘画的语言方式，并融入了自己的个体经验和心理状态，以超写实和象征化的表现手法制造了一个塌陷而又面临重建的寓言景观。

Preface

Zhu Xinyu and Zhang An are both from the third studio of the oil painting department of the central academy of fine arts. However, the styles and forms of their works are quite different. This also exactly confirms the teaching concept of the third studio, which is not oriented by a certain style and school, but advocates inclusiveness. To give full play to students' personality as the premise, teaching students in accordance with their aptitude, so that students gradually consciously explore their own artistic direction.

Therefore, their works are presented in the form of Joint Solo exhibition, just like spores divided under the same scale system, and different from each other. Zhu Xinyu started from the visual traces growing in the process of painting and tried to establish his own linguistic logic. Zhang 'an, on the other hand, kept digging deep into the realistic painting system, directly followed the language mode of western classical painting, and integrated his own personal experience and psychological state to create a collapsed fable landscape facing reconstruction by means of super-realistic and symbolic expression.

具体而言他先不预设任何结果，任由稀释的颜料在画面上的流淌，通过任意的涂抹刮擦形成一层肌理，在此基础上再叠加新的颜色层又刮离，不断的反复，直到纸张接近耐受的极限才停止。如此一来，与行动绘画颇为近似，绘画的行为成为传导朱心宇手眼心的基本方式。他需要考虑在每一次覆盖中可以保留什么，应该剔除什么，根据画面的形式需要加入什么。但不同的是，朱心宇的绘画过程看似随机，但其实也是他有意重构语言方式和秩序感的过程。从作品中可以看到艺术家在不断尝试各种可能，甚至方法、语言和表达路径也在不断的转换。作品的表层充满着痕迹感，多重颜色叠加所产生的微妙变化，动作不均匀所留下的层层肌理，每次动作形成的边界以及几何形态，都成为了作品闪动的灵魂，既是身体动作转化为绘画轨迹后的呈现，同样也见证着时间流淌的痕迹。我们可以看到，朱心宇试图在时间和空间的变幻中拉拽出一个属于个人的秩序轨迹。

Zhu Xinyu: order trajectory

In recent years, Zhu Xinyu has focused on the expression of painting order, spatial rhythm, painting traces, texture and topics. It originated from the sketching experience in Yunnan and Inner Mongolia. Zhu Xinyu found a kind of abstract natural order in the strange visual landscape, which inspired a new visual experience for him.

He began to put aside specific experience, and used the movement and superposition of lines and colors as the expression method. Conscious actions and casual marks began to form a relationship in the picture, while Zhu Xinyu broke this relationship continuously and then reorganized it again to form a multi-level visual structure. The works presented in this exhibition are his latest thoughts on this topic, how to explore the possibility of language and form in the behavioral track of painting, and how to find the correspondence between free consciousness and painting order.

Specifically, he did not preset any results at first. He allowed the flow of diluted pigments on the picture to form a layer of texture through arbitrary daubing and scraping. On this basis, he added new color layers and scraped them away again and again. In this way, similar to action painting, the act of painting has become the basic way to transmit Zhu Xinyu's hand-eye heart. He needs to consider what can be retained in each overlay, what should be removed, and what needs to be added according to the form of the image. However, what is different is that although Zhu Xinyu's painting process seems random, it is actually a process in which he intends to reconstruct his language style and sense of order. It can be seen from the works that artists are constantly trying out various possibilities, and even the methods, languages and expression paths are constantly changing. Work surface is full of traces, subtle changes resulting from multiple color overlay, uneven movement left by the layers of skin texture, every action of boundary and geometry, have become the soul of the works, is not only the body movements into trajectory after painting, also witnessing the traces of time flowing. We can see that Zhu Xinyu tried to pull out a personal order track in the changes of time and space.

Zhang An: Landscape Fable

How to combine the classical language with the visual resources of contemporary painting, Zhang An provides us with a visual sample through his painting practice. Zhang An's works are related to his personal experience, memory and living conditions. Those abandoned public facilities and scenes of private life have become the memorial objects with infinite focus in his works. In the high-speed changing social space, Zhang An deliberately lowered the speed, perceived the existence of objects at a slow pace, and used the delicate tempera technique of egg-color to convey an unknowable power beyond the reality at a leisurely pace with the classical realistic language techniques. While intervening in the contemporary society with his personal experience, he also found his own psychological position in the relics.

Moreover, Zhang An did not face the problems brought about by social development, such as demolition and reconstruction with direct writing. Instead, he recreated a spiritual visual fable by means of metaphor and symbolism. He used indirect painting and classical forms to remove the traces of the characters in the picture and eliminate the cause and effect of narration. Terrazzo ground, muddy ruts, dark night road and demolition residue under the deep dark light became the center of the picture. By giving them a glimmer of light, Zhang separates them from their original environment and imprints these visual marks deeply in the picture with the language of "transcending reality". On the surface, it seems to be a gesture of "self-deindividuation". In fact, by the name of "monument", He integrate with each other and realize the multi-layer immersion of subject perception and concept through the continuous deepening of technical language, and even dig out the sense of smell and touch hidden in the image. Skill comes from the Taoism, and skill comes from god. Through constant tossing and turning, Zhang An shaped his diachronic experience and the texture of relics into aesthetic objects beyond the realistic landscape. His expression is far more profound than reality. What time and memory have forgotten is deeply perceived by him and endowed with a kind of spiritual tension, which makes us feel the palpitations from the heart inadvertently.

Zhang An created allegorical images with his sensitivity and persistence. The deep and mysterious temperament was finally sublimated into the spiritual connotation of nobility, which not only symbolized the extension of time and space, but also implied the constant change of civilization forms, and also brought a touch of poetic lyric.

                                                                                                                                                                                               ——Tang Yu