展览题目取「山隐之人」，既暗示了艺术家在山里生活，也说出了一种状态——“在地”，指在原本的位置，唯有在地研究，你才能发现研究对象如何在同一片土地世世代代地，与环境及附近物种产生互相依存的关系。从第一眼看见嵩山被她吸引，到住在山里朝夕相处，嵩山的轮廓在陈永生的画里日渐清晰。
陈永生 Chen Yongsheng, 少室叠翠 Mt. Shaoshi Covered with Layers of Green, 2021布面油画 Oil on canvas, 100 x 150 cm
陈永生在自我介绍里写下了这样一段话，“就是一个画画的人 爱山 画山 住在山里 爬过很多山 最后选择了嵩山 只要你与山朝夕相伴 山就会成为你的另一半”。很好奇与山成为另一半的感觉，这让人想起一位香港自然主义文学作家也会经常在植物的花期时候去探访，仿佛去探望老朋友一般。当我们说爱一个环境的时候其实是很抽象的，用笔墨去描绘它的轮廓，用陈永生的话来说，就像是和嵩山谈恋爱一样。带着这样的心情再去观看他的画作，你就会感到画里的每一笔都带着欣喜。
陈永生 Chen Yongsheng, 少室若莲 Lotus-like Mt. Shaoshi, 2020布面油画 Oil on canvas, 40 x 50 cm
17世纪的抽象派其实来源于一场室外写生运动，17世纪以前的古典绘画多是在室内造景创作，对“真实”的追求促使艺术家走出家门，来到大自然进行“实景”的创作。而随着摄影技术的发展，写生创作也变得简捷起来，只需要拍好照片就可以回工作室创作，逐渐的写生只是成为一种练习。而像陈永生这样坚持写生，并最终以与山共存的姿态进行创作实属难得。
陈永生 Chen Yongsheng, 少室秋月 Fall in Mt. Shaoshi, 2021布面油画 Oil on canvas, 80 x 60 cm
作为一位面对自然风光作画的艺术家，陈永生收获的气量与细腻则在作品中体现得淋漓尽致。他画布上用年轮般的肌理纹路描绘嵩山的神圣与静谧，用色块与线条构筑林间的意境与悦情，将自己的灵魂与人格在一幅幅嵩山即景里以轻盈、强烈、恣意的笔触表现出来。为什么我们凝视植物，有别于鸟兽的流动，植物的不迁恰似静穆的永恒，而在永恒中寻找“真我”就是陈永生永远的命题。“Inside the Mountain" as the title of the exhibition not only implies that the artist lives in the mountains, but also expresses a state of being - “In-Situ”, which refers to the original location, only by on-site research can you discover the interdependent relationship between the object and the environment where in the same land for generation. When Chen Yongsheng first visited the Mount Song, he was deeply attracted and later he moved in the mountain, after that, the outline of Mount Song became clearer and clearer in Chen Yongsheng's paintings.
陈永生 Chen Yongsheng, 宝石谷 Gem Valley, 2021布面油画 Oil on canvas, 65 x 55 cm
Chen Yongsheng wrote such a paragraph in his self-introduction, "I am a painter who loves mountains, paints mountains, lives in mountains, climbs many mountains, and finally chooses Mount Song. Only if you are with the mountain day and night, the mountain will become your other half." I am very curious about the feeling of becoming the other half with the mountain, which reminds me of a Hong Kong naturalist literature writer who often visits the plants when they are in bloom, as if visiting an old friend. When we say that we love an environment, it is actually very abstract. Using brush and ink to describe its outline, in the words of Chen Yongsheng, is like falling in love with Mount Song. If you look at his paintings with such feelings, you will feel joy in every stroke in the painting.
陈永生 Chen Yongsheng, 溪流蝉声 Chirping Cicada in the Stream, 2021布面油画 Oil on canvas, 70 x 60 cm
Impressionism in the 17th century actually originated from a French pictorial movement. Before the 17th century, classical paintings were mostly created in indoor. The pursuit of "reality" prompted artists to go out of their homes and come to nature to paint the "real scenes". With the development of photography technology, sketching has also become simpler and simpler. You only need to take a good picture and you can go back to the studio to paint. Gradually sketching is just an exercise. It is rare for Chen Yongsheng to insist on sketching and finally to the state like merging with mountains.
陈永生 Chen Yongsheng, 鹊华 Moonlight, 2021布面油画 Oil on canvas, 660 x 160 cm
As an artist who paints about natural scenery, Chen Yongsheng's energy and delicacy are vividly reflected in his works. On his canvases, he depicts the sacredness and tranquility of the Mount Song with the layered texture structure, and uses the color and lines to describe the artistic conception and joy in the forest. He expresses his soul and personality with light, strong and arbitrary brushstrokes in the picturesque scenes of the mountain.Why do we stare at plants, different from the movement of birds and beasts, the immutability of plants is like a quiet eternity, and the search for the "true self" in eternity is Chen Yongsheng's eternal proposition.
2022年2月26日 15:00 ～ 2022年5月8日 19:00
Great Art Space 宏艺空间
用户_3682报名
Co收藏
