(介绍从左至右）

•NO112凝聚I NO112 Cohesion I，布面丙烯acrylic on canvas，h400 w300，2022

•NO133核心NO133Nucleus，布面丙烯acrylic on canvas，h400 w300，2022

•NO125凝聚II NO125Cohesion II，布面丙烯acrylic on canvas，h400 w300，2022

在画面表现力上来看，虽然艺术家再现的主题是光，但光线在艺术家的作品中却常常被表现为被暗影包裹的微光。作为90后艺术家身兼工程师的他俨然是一位赛博青年，但赛博之光却并未在艺术家这里被表现为一种僵化流俗的生命力。我们有理由相信，对色彩表现力敏感的艺术家本人，有意地在规避人们可能通过他的年龄、专业以及表达的主题等因素所形成的期待视野。用艺术家自己的话说，“光总是与未来或救赎之类的意义联系在一起，而这样的意义往往给人指向两种不同的路径，或是神的拯救或是超级人类的自救，而我有意地让自己的表达与这两者之间保持着克制性的距离”。

Regarding the intensity of paintings, the artist presents light as the topic, and usually depicts it as a glimmer wrapped in shadows. As an artist and engineer, Wang Tingchen is a typical cyber youth, but the light of cyber in his works is not expressed as the rigid and mundane vitality. Thus, we have every reason to believe that the artist, sensitive to the intensity of the light, is intentionally avoiding preconceived expectations that people may hold because of his age, major, topics and other factors. In the artist his own words, “Light has always been associated with meanings such as future or redemption, usually pointing to people two different paths, the rescue of the God, or super-human saving himself. I intend to keep my expression at a restrained distance from both”

分割2021-4 Break up a space 2021-4

李家瑞 Li Jiarui

布面丙烯 acrylic on canvas

h60 w60cm

2021

我喜欢把情绪嫁接在画里。

只有绘画，才能抒发心里的想法，关注到人的情感，所以画里会包含很多的表情，因此我的关注点很自然的偏向喜欢极简主义的风格。克制而谨慎，每一笔都是在一场被框定边界的实验。画布呈现局限的框架，构成了一个虚拟的限定的空间。通过线这种最简单的绘画元素，来展现事物之间的关系，试图让理性和感性并存，在冷抽象、内张力和情绪表达、视觉冲击之间求得平衡。

I like to implant emotions in paintings.

Only through painting can I fully express my inner thoughts and give attention to people’s feelings. That’s why I include many expressions in my paintings. Naturally, I focus more on minimalist style. Restraint and cautious, each stroke is an experiment whose boundary has been framed. The canvas presents a restricted frame, constituting a virtual limited space. Lines, the most basic element in a painting, reveal the relationship between objects. It is an attempt to achieve the co-existence of sense and sensibility, striking a balance between cold abstraction, internal tension and emotional expressions, and visual impact.

此间的风景-12  The scenery here-12

刘鹏 Liu Peng

布面油画 oil on canvas

h650 w1200

2021

对于我来说，一种具有生气与表现力的平面或抽象结构具有极大的吸引力，因为在这里更容易找到一种纯粹的主观表现与自我表达，能够在画面结构与色彩组织，以及造型的运用上获得自己的方式，并且着力通过构成形的线条、色块和面，释放一种表象与深度、现实与想象间混沌不明的感觉，超越感觉以求得想象，抒写自己的风景。

我的作品基本都是以普通风景、景物、静物等随处可见却又易被忽视的生活片段所组成，展现了有光就有色彩的“日常”之意，让绘画回到画面本身，在时间性中传递有温度的独特意味。

For me, a vibrant and expressive flat or abstract structure is extremely attractive because it is easier to find a purely subjective expression and self-expression here, to get my own way in the structure and color organization of the picture, as well as in the use of shapes, and to focus on releasing a sense of chaos between appearance and depth, reality and imagination through the lines, color blocks and surfaces of the composition, to transcend the sense in order to seek imagination and write my own landscape.

Most of my works are composed of ordinary landscapes, scenes and still objects and other common but easily neglected fragments of life, showing the idea of “everyday” that where there is light and there are colors. Painting is thus brought back to the picture itself, conveying a unique touching meaning in temporality.

绘画性研究-513笔触 Painting research - 513 strokes

张鸿禹 Zhang Hongyu

布面油画 oil on canvas

h1200 w800

2021

这是绘画性研究系列的一件，笔触开始发生了变化。更多的随意性与随机出现的效果逐渐成为画面的焦点，使绘画经验成为创作的主要输出方式，也是在不断地使用加减法，经验的不断叠加与笔触的点一起形成加法与减法在绘画层面的运用。

This is one piece of Zhang Hongyu’s pictorial research series, and the brushstroke begins to change. Randomly appearing effects take over the focus of the canvas so that the painting experience becomes the main approach to creation. There is also a constant use of addition and subtraction at the level of painting, marked by the overlaid experience as well as points of brush strokes.