“绘事笔记”张艳娜个展 “—Notes on Painterly Matters”Zhang Yanna Solo Exhibition

展览主题|Title:绘事笔记 “Notes on Painterly Matters”

艺术家|Artist:张艳娜 Zhang Yanna 

展览时间|Duration:2016.09.10-2016.10.22

开幕时间|Opening:2016.09.10    15:00

展览地点|Address: 北京市朝阳区崔各庄乡草场地甲8号醉库国际文化创意园·A5  兰空间

Zuiku lntemational Cultural Park of Caochangdi,Airport Service Road Chaoyang dist-rict.  A5 (LAN SPACE)

 

当绘画变得很纠结很折磨,不能继续的时候,我有时会往前倒倒那些美术史里的人。倒到马蒂斯的时候,这些老生常谈到可以视而不见的画作,细细再看,自然不会有做学生时的激动,可以心平气和的拆解开理性的看。这样看,便觉得处处不好,笔笔都坏,但整体看又好的不得了。就像丰子恺感叹吴昌硕的一幅字时说的:“单看时觉得不好的地方,全体看时都变好,非此反不美了。”丰子恺说的“美”,在国画里指的是“气韵生动”,意思是为求整体之生气之浑然融合,非舍小而取大不可。西画里也有“气韵”,只没有中国人这样把“气”放大到如此程度。

从前看马蒂斯的画感性极了,如今理性的看,又理性极了,每一块颜色,每一处造型,或深或浅、或浓或淡、或大或小、或偏或正,无一处是偶然,都为整体而然。结构之严谨,动一处便动全部。我于是很感兴趣,便借用大师画面结构一用,这才恍然我自来善长画小,由无数处小而堆凑成幅画,却从不知画面有大,自然不能为大而舍小,又哪里领悟过绘画的三昧。 于是感到绘画很博大,又有了继续的兴致。

 

“Notes on Painterly Matters”“Zhang Yanna Solo Exhibition ”

When painting becomes entrapping or tortuous, and I’m unable to continue to paint, I sometimes revisit certain figures in the history of fine arts. Glancing back at Matisse, his paintings feel mundane to the point where we barely take notice of them anymore. As we scrutinize them even further, it’s only natural they don’t elicit from us the same excitement as back in our student days. We can soberly disassemble them and look at them with a rational pair of eyes. Perusing them in this way, we find they are riddled with flaws and poor brushstrokes, and yet as a whole they are simply terrific. This can be likened to artist Feng Zikai’s exclamation in praise of a calligraphy piece by his senior Wu Changshuo: “Points which you consider flawed as you home in on them, clear up as you take in the bigger picture. The work would lose its appeal without them.” Feng Zikai used the word “appeal” (mei), which in the context of traditional Chinese painting refers to “being possessed of a vivid appeal” (qiyun shengdong), meaning that when striving for a total integration of vitality all throughout the painting, the artist cannot but get rid of the small in favor of the big. Although such “vivid appeal” can also be found in Western paintings, this vital, spirited energy (qi) isn’t usually magnified to the same extent as in their Chinese counterparts.

Previously, my response when looking at a Matisse was one of extreme emotionality, whereas now, looking at his works rationally, my response is a highly rational one. Every color section and shape, be it dark- or light-colored, thickly applied or diluted, large or small, slanting or straight, not a single point is left up to chance: each element exists in function of the whole. Given the structural rigorousness of these works, the slightest change can alter the whole painting, which is what arouses my interest. As I borrow from the structure of these masterly tableaus, it dawns on me how adept I used to be at painting the small. As countless minutiae accumulated and formed into a painting, I turned a blind eye to the larger dimension, and was naturally unable to abandon the small in favor of the big, or comprehend the true secrets that lay hidden within the painting.

Hence, having become aware of the erudite refinement of painting, my mood to further pursue it has returned.