作者: 绘画艺术  发布:2020-02-09

标签: 杨平 杨平个人展馆 诧.紫 不鲜明的直觉

A few years ago I wrote an essay on the works of my good friend, Li Gang, during the period of his artistic transformation. At the time, Li was at the peak of his creativity, as he completed many series of new works with great momentum. I left for Beijing later on. One day, Li suddenly resigned from his steady job and wandered off to Beijing like I had done. Our wandering to Beijing shared a similar motif: we received steady paychecks from official institutions, and devoted our spare time to artistic experiment. In this regard, Li showed a remarkable vigor. Here are some of my thoughts on Li from the essay I wrote a few years ago:

展著名称:诧.紫 ——杨平个人展览馆

It had only been a few days since I last saw him. Li Gang had finished a whole basket of paintings, and he acted like a craftsman who crawled over patchworks and created many new series of works. I admire Lis capacity for doing everything with tremendous gusto and spreading his energy over multiple pursuits. In Die suan pieng, we have this idiom, spreading salt, which has the connotations of large and coarse, meaning that someone has the courage to strive, though his efforts may be unrefined at times. Despite such occasional coarseness, Li was meant to do great things.

Exhibition name: THE DIFFERENCE·PURPLE------ Yang Ping Solo Exhibition

The art of painting lies between vastness and fineness, between coarseness and subtlety. Vastness and coarseness are a kind of mindset and philosophy, while fineness and subtlety are another kind of feeling and experience. Looking at his latest series, I feel that Li has arrived at new kind of reflection through his quest for a uniquely personal feeling. I have always wondered: What kind of reflection and feeling are they?

策 展 人:鲁虹

Li worked in printmaking in the past, and he had a special touch for wood and grain while working on the material. He switched to Chinese ink painting at a later time. Through the use of brush and ink, he sought the dialogue with ancient souls, and its connection with contemporary language. However, I have always felt that he has not found his place in Chinese painting and ink, and he continues to practice the craft of brush and ink. In recent years, thanks to his various artistic and professional pursuits and his outgoing personality, Li acquired many eccentric friends. He has participated in and organized a number of experimental and contemporary art activities, while he gradually came to an alternative mode of thinking and feeling. As a result, he put the brush, paint, and writing aside, and turned to folding papers seeped in ink and their patchwork.

Curator: Lu Hong

On Lis recent experiments, I see three layers of relation and meaning as the entry points to our discussion. The first is process. Titled Series, his new batch of works explore the experience and joy of the process of creation. The artist does not care for the depiction or expression of anything in particular. Nor does he care about the beginning or the end. He often begins his process in the quiet moments of his busy life: folding papers, sprinkling water, seeping the papers in ink, spreading them on a flat surface, tearing them apart and creasing the stripes for patchwork, etc. Step by step, the process unfolds and becomes his experience, while his experience also runs through the process. In this sense, his experience can be extended to a broader aesthetics and cultural meaning of water, ink and paper as a medium. The unison of ink and xuan paper embodies an experiential joy and understanding of the nature of Oriental culture.

学术主持: 王端廷 杨卫

The second is graphics. In the recognition of aesthetics and cultural meaning of Chinese ink painting, we are conditioned to derive our understanding from typical images and formulas such as mountain and water, flowers and birds, characters, and brush and ink. This has created the misconception that we can only draw reciprocal meanings of traditional culture and Oriental culture from such graphics, and led us to search for breakthrough from within these frameworks. Lis breakthrough takes on a rather large scale; it may even be a revolution, a quest for a new kind of graphics. Li attempts to break away from the traditional and classical S shaped structures, the relation between sparseness and thickness in brush and think, and the principles of resemblance and difference. In their place, Li creates abstract and square compartments, symmetrical lines that come close to perfect balance in the thickness of ink, patchworks that have been jumbled and rearranged, and the contrast and dialogue between different materials. These touches constitute his understanding and expression of ink art in the contemporary realm, as well as his personalized graphics of ink.

Academic host: Wang Duanting, Yang Wei

The third is feeling and exerience. The crux of Chinese painting and ink lies in the cultural expression and experiential depth of the art form. Its forms and graphics may be manifold, leading us to a higher plane of cultural experience; or they convey the artists personal experience of culture, which gives birth to the meaning of artistic creation. Li has attempted to his feeling and experience of ink as an artistic expression and cultural language with calm. In the depth of these ink compartments, a distinct aesthetics and comprehension are revealed through the varying shades of ink on paper. This needs to be discerned and felt from the heart. Li must pursue this experience as an artist; we, as the audience, must also do the same.

艺 术 家:杨平

Lis experiment evolves along this process. The birth of his graphics, the expression of feelings, the experience of culture and the use of ink as a medium are transformed into cultural meaning, through the artists language and its growth.

Artist: Yang Ping

In spreading salt, Li has both coarse and fine touches. However, his experiment is only the beginning of a process, which leans toward coarseness and even ferocity at times. I hope that he will calm down and experience life, society and culture, and transform such personal experience into an expression of ink that is completely his own.

主 办 方:悦.美术馆

The title and emphasis of the essay was Experience is a Cultural Attitude, and experience has always been the starting point of his artistic creation. At this stage, Li has elevated this experience of artistic creation into cultivation in his everyday life. It is exalted into a way of living, a means of cultivation toward a higher realm in life. Be it ink, traces of life, emotional states and higher realms in life, they may all become a new stage in Lis development, an expression of his cultivation through the journey of life and existence.

Organizer: Enjoy - Art Museum

I look forward to seeing greater depths of Li Gangs experience and cultivation.


Qinluyun, Beijing

Exhibition Date: November 30, 2019 - December 11, 2019

10 May 2012


Opening Time: November 30, 2019 (Saturday), 3 pm


Exhibition Location: Beijing Enjoy - Art Museum C Room

展出地点:香港(Hong Kong卡塔尔国市铁东区酒仙桥2号路798艺术区797路B06

Address: B06, 797 Road, No. 2 Road, Jiuxianqiao, Chaoyang District, Beijing

序言 鲁虹 128 x48.5cm 128x48.5cm

Preface LuHong 128x48.5cm






乙丑孟秋 鲁虹于毕尔巴鄂千岛湖纯水岸

My feeling about Yang Ping’s new ink painting

Lu Hong

Using traditional ink as the medium to express the individual's feelings about the present, many excellent artists have done excellent researches, which also makes them have a strong stroke in the history of Chinese contemporary art. As an artist who grew up in the era of reform and opening up, Yang Ping consciously turned his perspective to the era of consumption in which we live. Moreover, starting from her unique experience and feelings, she often uses images with individual characteristics to express the desire and yearning of some young women, as well as their loneliness, loss, melancholy, jealousy, and confusion. In contrast, her newly creation“The Time Series”, described the process of the decline of flowers which symbolizes the life of a woman, and is extremely philosophical. What is commendable is that, through her continuous exploration, she has not only successfully transformed the traditional non-bone painting method, but also absorbed the elements in Western modern art, and formed a personal appearance, which is not easy.

I have seen Yang Ping’s calligraphy works, I have to say she is not only outstanding among her generation of artists, but also not inferior to the artists of the previous generation. I believe that in the future creation, he will definitely integrate his calligraphy skills and make herself leap to a new level.

Yang Ping is young and talented. She is both diligent and eager to learn, and she has a good mentor. There must be a limitless future for her. I will wait and see.

Lu Hong in Wuhan East Lake pure water shore

(The author of this article is a famous contemporary art critic, curator, executive director of Wuhan Heyi Art Museum, professor at Sichuan Academy of Fine Arts and Hubei Academy of Fine Arts)

时刻 纸本水墨100x66cm 2019

Time 1 100x66cm ink on Paper 2019

墨蓝 纸本水墨160x100cm 2019

Azure 2 160x100cm ink on Paper 2019

无言 NO.1 34x69cm 纸本水墨 2019

Speechless 2 34x69cm ink on Paper 2019



Y: 最精通自身的人是慈详呢?


花红柳绿 纸板水墨46.5x35cm 2019

Speechless 2 34x69cm ink on Paper 2019


五光十色 布上水墨、辛烷40x30cm 2019

Colorful 4 34.5x34.5cm Cardboard ink 2019


多姿多彩 布上水墨、十六烷40x30cm 2019

Colorful 5 34.5x34.5cm Cardboard ink 2019

L: 您上一个人展览馆览非常大,在高雄美术馆,反响也很棒。展览后到当前,您的编著有怎么着新的转移,在此番展出中有如何突破?

Y: 继前一个人展览馆览之后,创作步向了沉淀与抓好的进度,潜心于女子本人观念与情绪的开采与表现,从个人特其他见地出发,是自个儿的专攻,何况成了私家生命体验的开口,渐渐把生活感悟和现实性中的触动,转变为二维平面表明,是核算本身敏锐的章程感到,也是加重本性的历程。

多彩 布上水墨、加氢苯40x30cm 2019

Colorful 6 34.5x34.5cm Cardboard ink 2019



语NO.1 12x47cm 纸本水墨 2019

Language 1 15.5x65cm ink on Paper 2019

语NO.2 15.5x65cm 纸本水墨 2019

Language 2 15.5x65cm ink on Paper 2019

语NO.3 15.5x55cm 纸本水墨 2019

Language 3 15.5x55cm ink on Paper 2019


郊游惊梦九45x30cm 纸本水墨 2019

Dreaming in the garden 3 45x30cm ink on Paper 2019


郊游惊梦三45x30cm 纸本水墨 2019

Dreaming in the garden 3 45x30cm ink on Paper 2019

L: 在现世水墨中,图像是二个绕不开的话题,您文章中的图像很有个性,能谈一下图像的来自与创作的关联吧?

无奈N0.1 0 纸板水墨 40x31cm 2019

Helpless 10 40x31cm ink on cardboard 2019

Y: 那是一个被图像洗濯的一代,利用互连网电讯等媒体中的图像生成文章,是自然则然的业务,图像与写作的涉及有了全新的意义。我越来越关心全体有关女子的图像或印象资料,举例服装、前卫设计、壁画、新闻、报纸和刊物杂志等等时下现身图像的各类媒介。而颇有能够行使的图像,都与自身个人的生命体验有一贯的涉嫌,作者选择的图像,都是与本人心头爆发共识的,或然动作或许眼神,一时两者兼有,便最轻巧激情表现的欲念。当然这里未有规律,其决意于个人不鲜明的痛感。凡能用的,都存有与内心那时与那个时候的心态。而共识的一些为变化新的图像提供了生发的空间。图像的不鲜明性等于是人的不鲜明的感觉和意识,而选用这种以为的历程中,更加多是私家主观在改变原有的图像,新的图疑似带着个人价值观的,表明个人意图的新形象。因而,原有图像与人工的不明确性只怕模糊性,是同盟生成新图像的财富。

无可奈何N0.18 纸板水墨 30x30cm 2019

Helpless 18 30x30cm ink on cardboard 2019


无助N0.45 热敏纸水墨 30x44cm 2019

Helpless 45 30x44cm ink on photo paper 2019


无可奈何N0.46 艺术纸水墨 30x44cm 2019

Helpless 46 30x44cm ink on photo paper 2019


无可奈何N0.57 布上水墨十九烷 20x20cm 2019

Helpless 57 20x20cm Ink on canvas, Propylene 2019

Y: 对资料的探求与采取,是陪同着观念思想和发表须要而发生的自觉行为,由最先思维局限在敏感的生宣,到当下不太渗水的材料,是编慕与著述中八个大的变通,因为分歧的资料确实创建了差异的视觉效果,也是创作卓绝特性的二个地点。但具备的素材和本领,最后都以来自表现的急需。当表明有了针对,是会当先材质物性的,超越物性的专断表明是本人的动向。

无可奈何N0.67 布上水墨二甲苯 30x40cm 2019

Helpless 67 30x40cm Ink on canvas, Propylene 2019


无奈N0.69 布上水墨甲基 30x40cm 2019

Helpless 69 30x40cm Ink on canvas, Propylene 2019


无奈N0.74 布上水墨甲基丙烯 30x40cm 2019

Helpless 74 30x40cm Ink on canvas, Propylene 2019

Y: 首先与自身创作的欧洲经济共同体风貌有关,笔者创作发布的具有关于女人的感觉,与这些词语有风流洒脱种意象上的相符。其次,“诧.紫”与“姹紫”谐音,词语原来的作品“春光明媚”在明汤显祖《谷雨花亭.游园惊梦》里冒出,一个远古女人丰裕的内心世界与现时期女子有了通过似的比较与常常,所以取了中间二字也是出今后。替换为“诧”字,是想表明自个儿越来越多的欣喜与沉凝,是多少个当代女人对生活体验也许说对现实中有的是不鲜明因素的殷殷表明与观念。紫的色彩或隐喻的意象,能更加好地传达大器晚成种历经时光练习沉淀后的冷傲成熟与坚韧勇气,而且鲜青的技巧感与神秘感也很合乎小说的代表。

无助N0.80 布上水墨十四烷 30x30cm 2019

Helpless 80 30x30cm Ink on canvas, Propylene 2019

L: 最后一个难题:您对创作与空间的涉及有主见吗?

Y: 文章与空间的关系是相互影响,互为烘托,合营开创艺术效果的,因为这一次是展相对小的文章,所以接纳了相比较聚集的小空间,展览大厅空间与小说的争执统风度翩翩,与创作中的留白是均等的道理,笔者大概比较向往简静。

无助N0.84 布上水墨芳烃 40x40cm 2019

Helpless 84 40x40cm Ink on canvas, Propylene 2019



Uncertain intuition

L: Look at your work, there are a lot of your shadows, there is a saying that "painting is like a person", can you talk about yourself?

Y: Is a person who knows the most about himself is himself?

Marco Aureli said in "Pensive Record" : In this world, only you can know yourself best.

I am the person who mostly works on the basis of intuition. I am more emotional, and it is the kind of feeling that I will express in my works. A lot of intuition, such as the person to things or to stuff, the facts are also relatively accurate, I call it the first feeling. In reality, sensitiveness and hesitation, delicateness and extensiveness, impulse and logos, can always contradict me and my creation.

I have always been longing for simple and accurate expression of thoughts and feelings. When trying to capture the first strong feeling that an object appears in the picture, I will think about more the use of the space in pictures. When some painters are vying to fill the picture to show the richness, I just drive out many elements out of the picture, only focus on the most vivid part of the image. I think this is enough. And the creation has the desire to purify the language and the schema. If you can say a word clearly, you don't need two sentences. Maybe it is related to one's own personality.

L:Your last exhibition at the Jinan Art Museum was relatively large and the response was great. What new changes have you made to your creation since the exhibition and what breakthroughs have you made in this exhibition?

Y: After the previous exhibition, my creation has entered the process of sedimentation and deepening. I focused on the excavation and performance of women' s own psychology and emotions, starting from a unique perspective of the individual, and this has become the exploration of my personal life experience. Translating the sense of survival and the touch in reality into a two-dimensional plane expression can also test my artistic sense and It is also a process to strengthen individuality.

In the era when various media are getting hotter, I became more obsessed with the expression of pure painting, but I will also use some form of installation that can express my intentions.

From the previous clear disclosure of images to fuzzy images, or even omission, it is an expression of extreme emotions, but also implies helplessness and calmness. Distance is an objective existence, which adds an illusion to the inside and outside of the image. I infiltrate this psychological experience into the works and give the viewer more space to imagine. I am looking forward to the visitors to fill the blank space.

Focusing on the relationship between sculpt and emotional expression and tapping the inner spirit are matters of my recent thinking and concentration. In the refinement, I took into account the atmosphere created by the white space. Most of the individual characters occupy the picture in order to purify the content of the picture, expressing reason and self-control.

The ambiguity of intuition is the way of maintaining freshness and curiosity in my creation at this stage which is attractive and challenging. It is a kind of control over big feelings, between determination, uncertainty and ignoring too much detail. It is the same as the imagery in traditional painting. Some strongest parts in life can drive people's creative desires, allowing an intuitive and fresh feeling to emerge in both control and uncertainty. Perhaps they are more able to reach the essence of the natural nature of the heart. Therefore, I let this feeling go and explore the contingency of the difference between ink and material.

This stage is more than ever able to respond to the uncertainty and sensibility of the painting process itself, while allowing the structure of the paper and the material to release more freedom to express my thoughts.

L:In the contemporary ink painting, image is a topic that cannot be avoided. The image in your works is very individual. Can you talk about the relationship between the source and creation of images?

Y: This is an era of images, works can be generated by using images from media such as network. Naturally, the relationship between images and creation has some new meanings. I pay more attention to all images of women, such as fashionable dress, fashion design, photography, news, newspapers, magazines and so on. And all the images that can be used are directly related to my personal life experience. The images I choose are all resonating with my heart, for example, the model’s movements or eyes, sometimes both, so that this can easily stimulate my performance. Of course, there is no rule here, It all depends on the feeling of personal uncertainty. As long as it is usable, it has the emotions of the heart and the time. The resonant part provides space for generating new images. The uncertainty of the image is equal to the uncertainty and consciousness of a person. In the process of using this feeling, personal feelings play a important role to change the original images. The new image has a personal concept which can express the individual's intention. Therefore, the original image and artificial uncertainty or ambiguity are resources to generate new images.

The expression method without the outline of the image can be better controlled, but it is not exactly what I expected. Actually, it can have the individuality and the power of the whole image, seemingly the chaotic expression blurs the outline, however, the lines of writing can be perfectly showed in images. In particular, a lot of expressive parts must be formed at one time, I will not hesitate and adjust them repeatedly, this is extremely freehand. Intuition swims in ambiguity and clarity, producing natural effects in control and out-of-control. The process is not smooth, It will reflect the most vivid part and help me get rid of many artificial traces. The natural effect of ink also liberates the tension between people and materials, thus the image has thickness and strength in reality and illusion.

As to my work, no matter single or group, They are all with an individual's own life experience. The gradually elongated character, straight lines, curves, squares, and dotted lines, are all combined with the overall atmosphere of the picture and the expression of ideas. They can express the contradiction between existence and nothingness in reality, despair, loneliness, sadness, helplessness and so on.

L: In the process of expressing contemporary ink painting, do you have a choice of materials and based on what?

Y: The exploration and selection of materials are conscious behaviors accompanied by ideological concepts and expression needs. The initial thinking is limited to raw rice paper, and the material that is not watery at present is a big change in creation, because different materials do create different visual effects and are an aspect of the work's outstanding personality. But all materials and techniques are ultimately due to performance needs. When expression has a point, it will transcend the material. Transcending the free expression of physicality is my direction.

During this year, in the framework of continuing to deepen the theme of women, I focused more on the exploration of ink language, expressing my current feelings and using ink to cut into the experience of contemporary real life, expressing my thoughts on human nature and human inner spirit. Integrating ideas and expressions is a natural thing in creation. My recent work is also the heart of this stage.

L: Why did you start the name“The Difference . Purple”?

Y: First of all, it is related to the overall appearance of my work. All the feelings about women expressed in my work are very compatible with this word. Secondly, the sounds of“The Difference . Purple”” and "“The Difference . Purple” are similar, the original word "brilliant purples and reds" appeared in Ming Tang Xianzu "Peony Pavilion. Amazing Dreams", an ancient woman's rich inner world and contemporary women have similarity and also contrast. So, I took two words from "brilliant purples and reds". The word "surprise" is used to express my surprise and thinking about contemporary woman's survival experience or many uncertain factors in reality. Purple color or metaphorical image can better convey the maturity and tenacity of courage with time passing, and the sense of power and mystery of purple also match my whole work.

L: Do you have an idea of the relationship between work and space?

Y: The relationship between the works and the space is interactive, which will against each other and creates artistic effects together. Because this is a relatively small exhibition, I chose a relatively small space. The contrast between the exhibition space and the works is similar to the blank in works. I still prefer to be simple.

What is in the heart, what will be seen in the eye and the expression of the pen is the most frank and sincere side of the heart. The works are the spiritual export of human beings. Good works are profound and can lead to thinking. They have a real feeling that can touch others. I am convinced of this.

September 30, 2019 in the National Defense Art District





中国画《在文化的深英里》,“第1届全国青年美术艺术展览 ”






















“变异的图像——中中原人民共和国今世摄影展” (2006年卡塔尔






















Art resume

Yang Ping

She graduated from the Central Academy of Fine Arts with a master's degree, majoring in Chinese Painting

Member of the Chinese Artists Association, member of the Chinese Calligraphers Association, member of the Chinese Women Painters Association, and painter of the Chinese Xu Beihong Painting Institute.

Distinguished professor of Hebei Academy of Fine Arts, working and living in Beijing.