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【上苑评论】1的N次方:吴益文个展

[2019-9-24 18:42:46]


1的N次方:吴益文个展

The N Power of 1: Wu Yiwen’s Solo Exhibition



展讯

艺术家:吴益文

Artist: Wu Yiwen

展览时间/Duration:2019.9.14~9.18

开幕时间/Opening:2019.9.14, 15:00

主办单位:上苑艺术馆

地点/Location: 北京市怀柔区桥梓镇沙峪口上苑艺术馆

Shangyuan Art Museum, Qiaozi country, Huairou District, Beijing


媒体支持:库艺术 ART方程式

Media support: library ART ART equation

学术主持:李念奴

Academic host: Li Niannu

海报设计:孙玉坤

Poster design: Sun Yukun

前言:牟俊

Preface: Mou Jun

前言 Preface
1的N次方,表示着N个1相乘之后的乘积,而“乘”是突破了“加”在一维线性上的量变关系,形成了质的突破构建出了二维的平面。在艺术家吴益文看来1是如同时空的奇点,是一切事物的最基本单位,它是世界原始的混沌状态,至简至纯。所以在吴益文的艺术作品中“1”是“点”,它的“加”是“线”,“乘”便是“面”,而无数的点、线、面相结合、膨胀、堆积便构成了我们所处的这个三维世界。它是西方哲学理论中世界是统一的物质的世界,也是中国传统道家“道生一,一生二,二生三,三生万物”大道规律下的世界。在海德格尔《艺术作品的本源》中也认为艺术作品建立了一个世界并制造大地,物便是作品的大地因素,创作是让某物作为一个被生产的东西而出现,作品把物因素置入敞开的领域中加以显现。

本次展览中的作品分为两个系列,分别以超轻粘土和电子元件作为创作材料,这两种材料载体本身都是人类工业文明的产物。取之于自然中的物,是在人类工业生产活动中进行了解构和重构,再解构和再重构后的不断循环过程后,所幸存的物。在《诗人何为》等文中,海德格尔注意到了我们这个由技术所统治的时代,物早已变的畸形,成为可供计算的市场价值。电子元件系列作品中,洞洞板成为作品的载体,艺术家将自己被动地置于材料板面的限制中,运用每一个单独的元件凝聚大量的时间,将其肆意的组合,在色彩上进行了单纯的色域处理,画面给人的第一印像是极其冷静的。但久而观之过后,会发现在理性克制的画面中充斥着艺术家对于自身艺术认知的张狂和不拘一格的叛逆。回顾艺术家之前的作品,他试图不断在理性中寻求无限的扩张,创造属于自己的世界。

    超轻粘土最早于2007年诞生于德国,后广泛运用于全球的少儿艺术教育中。由于其广大的市场普及度和轻便易塑的材料特质,使得它被扣上了廉价、低幼、简便的帽子。而艺术家选择这样年轻低廉的材料,充分利用它的材料属性,保持其密封状态,一点点地撕开外包装,风干,再撕开一点,再风干,如此往复。在长达一个月的时间使之完全固化后,再进行上色,一遍一遍的通过时间的介入,使作品呈现出新的不同于材料本身的金属、水泥等材料的质感,使其充满例外的惊喜。正如格林伯格论新雕塑时所说的,新雕塑提供了“物质是无实体的、无重量的,只像一个幻象一样存在”的幻觉一般。而幻觉便是贾德所说的作品需要的最必要的因素“有趣”。超轻粘土所带来的材料本身的轻便和作品所产生的厚重的幻觉之间的冲突,展现出近似童真的有趣。

海德格尔认为“艺术作品远不只是物的因素,它还是某种别的什么。这种别的什么就是使艺术家成其为艺术家的东西”。而在我看来,吴益文的作品中,承载作品的“物”,便是无数的“1”,而“某种别的什么”便是萨特所描述的“各各他上空中那一道黄色的裂痕”,便是艺术家在人生中关于自我艺术追求的那个N次方,它代表了艺术家人生中所有的情绪,也塑造了艺术家自身的存在。                                    

             牟 俊

                                  2019.09.09于重庆文理学院



The N power of 1 represents the product after the multiplication of N 1, and "multiplication" breaks through the quantitative relationship of "plus" on one-dimensional linearity, forming a qualitative breakthrough to build a two-dimensional plane. In the artist Wu Yiwen’s view, 1 is a singularity of the same time and space, and it is the most basic unit of everything. It is the primitive chaotic state of the world, and it is simple to pure. Therefore, in Wu Yiwen’s works of art, "1" is "point", its "plus" is "line", and "multiplication" is "plane". Countless points, lines, and planes combine, expand, and accumulate to form the three-dimensional world in which we live. It is a world in which the world is a unified material world in Western philosophical theories, and it is also a world under the laws of the traditional Taoist "one produce two, two produce three, three produce all things". In Heidegger’s "The Origin of Artistic Works," it is also believed that artistic works have established a world and created the earth. The object is the earth factor of the work. Creation is to make something appear as a product. The work puts the material factor into the open field to appear.

The works in this exhibition are divided into two series, which use ultra-light clay and electronic components as creative materials. Both of these materials are themselves products of human industrial civilization. The things taken from nature are the things that survived after the continuous cycle process of understanding and reconstruction, deconstruction and reconstruction in human industrial production activities. In "how poet to do" and other articles, Heidegger noticed that in our era ruled by technology, things have long become deformed and become market values that can be calculated. In the series of electronic components, the cave plate becomes the carrier of the work. The artist passively places himself in the limitation of the material plate surface, uses each individual element to condense a large amount of time, arbitrarily combines it, and carries out a simple color gamut on the color. Processing, The first image of the picture is extremely calm. However, after a long period of time, it will be found that the picture of rational restraint is full of artists ’arrogance and eclectic rebellion of their own artistic cognition. Looking back at the artist’s previous works, he tried to constantly seek unlimited expansion in reason and create his own world.

Ultralight clay was first born in Germany in 2007 and was widely used in children’s art education around the world. Due to its wide market popularity and the material characteristics of lightweight plastic, it has been labeled as cheap, low and simple. The artist chooses such a young and inexpensive material, making full use of its material properties, keeping it sealed, tearing apart the outer packaging bit by bit, drying, tearing a little bit, and drying again, so on. After a period of up to one month to completely solidify it, color it again and again. Through time intervention, the work presents a new texture of metal, cement, and other materials that are different from the material itself, making it full of exceptions. surprise. As Greenberg said about the new sculpture, the new sculpture provides the illusion that "matter is non-physical, weightless, and only exists like an illusion." The illusion is what Judd calls the most necessary "interesting." The conflict between the lightness of the material itself brought about by the ultra-light clay and the heavy illusion produced by the work shows that the approximate innocence is interesting.

Heidegger believes that "artistic works are far more than just things. It is something else. This other thing is what makes an artist an artist. " In my opinion, in Wu Yiwen’s works, the "things" that carry the works are countless "1", and "something else" is what Sartre described as "a yellow crack in the air.", It is the N power of the artist’s pursuit of self-art in life. It represents all the emotions in the artist’s life and also shapes the artist’s own existence. 

Mou Jun

2019.09.09 at Chongqing University of Arts and Sciences








古巴塔(印度艺术家)


当我第一次看到吴益文先生个展的海报时,由于展览的题目和海报的整体构图,我对他的展览充满好奇,并且满怀期待。

几天后,我终于成为他们中的一员参加了开幕式,并参观了他在北京上苑艺术馆举办的第一个个展。展品包括雕塑和二维作品,它们都有着不同的风格和创作过程,但同时我也意识到所有的作品都是相互关联的,体现了艺术家的才能和创造力。

他的雕塑作品,用很普通的材料创造出非常简单而有力的形状。这些雕塑作品有时让我觉得像枕头一样柔软,有时又让我觉得像石头一样坚硬,这都是因为作品的形状,以及雕塑上使用的银色和金色在起作用。

吴益文先生的展览最重要的一点是,他所有的作品都是按照展厅空间以及硬件条件精心安排的,把雕塑放在有白色底板的镜子上,更显得别出心裁。

另一方面,吴益文先生在他的三件二维作品中,运用了大量小电子元件进行创作,这让我想起我的微型画。

最后要说的是,我感觉到吴益文先生非常享受他的创作过程。作为一个艺术家和创作者,他创造了令人惊叹的作品。


Gupta, Shatrudhan K.


When i saw first time poster of Mr. Wu Yiwen’s solo exhibition, my curiosity became high to see his exhibition because of exhibition title and whole composition of the poster.

Finally, after few days i was one of them witness to attend the opening ceremony and visit his first solo exhibition at ShangYuan museum, Beijing.

Mr. Wu Yiwen have exhibited sculptures and paintings, both have different works of style and work process, but at the same time i realize all works have interconnected with each other and it shows artistic capability and creativity of an artist.

Mr. Wu Yiwen’s sculptures; he has created very simple and powerful form with basic materials. His Sculpture works sometimes feels me as softness as pillow and sometimes as hardness as stones. It’s because of form of the works and used of silver and golden color on the sculptures. And most important thing of Mr. Wu Yiwen’s exhibition that his all works spontaneous took place in exhibition hall according to their nature. Sculptures looks more rich on mirror with white space.

On the other hand, in his three works (two-dimensional works) Mr. Wuwen have used lot of small electronic elements for his creation; It’s feels me miniature paintings.

Finally, I can say that Mr. Wu Yiwen really enjoyed his works process and creating these amazing works as an artist and creator.

伊莲娜(黑山 学者、艺术家)


在进入吴益文艺术世界的那一刻,人们不禁要问,我们在日常生活中司空见惯的东西,究竟有什么特别之处?

正是日常事物的普遍性使得形式如此强大,比如我们每天的生活内容里充满了重复性和统一性,比如许多细小的事物会组合在一起形成一个单位,被外部世界不断深入地向内塑造。我们的文明自有史以来,不断地在两种意识形态间转换。其一是强调个体的价值,促进个体性的发展,近乎建立个人崇拜主义;另一种是让大众几乎失去任何个体意识,而仅仅成为整体的一部分。采用哪种形态取决于外部因素。

在吴益文的作品中,有两个非常富有力量和超越感的概念,其中之一是具有独一无二价值的个体,同时这种个体可以被无限次反复和映射。正是这一点,他的作品调动了我们的思维模式。我们看待现实世界的方式,不但是作为单个细胞的个体表达,而且还是整个有机整体的一部分。同时,这个有机整体越大,越容易受到外部环境的影响,就越能让我们感知到世界平衡的意义。那么我们怎么来实现平衡的黄金法则,是听之任之,还是调整这个钟摆的左右晃动。吴益文的作品正是在这方面进行了探索,即“一”与“多”之间的平衡,以及创新(运动)与反复(静止)之间的互动,是否施加金属色,取决于强调个体元素的反复概念还是金属的映射。

我们当下的文明已经完全被金属包围,从建筑工业、设计到太空旅行,要么作为一个保护表层,要么作为一个必要的结构,要么作为一个完整的整体。在吴益文的黏土作品中,金属色的使用让人联想到时间的瞬间冻结或静止,思考这个世界不断地在软硬之间接受或抗拒、成型或重新塑造。同时,我们通过不断控制和征服包围我们的现实世界,加深对现实存在的深入认知。我们被周围的一切所包裹,在大多数情况下,我们看不见它,但可以感知到有只无形的手在牵引着文明向前发展,并深深地渗入我们的潜意识世界。探索和掌控这个世界的规律性,人类智能的最普遍功能在于不断地在生活中摸索、分类和处理整个认知体系。有时候这种分类富有探索性,譬如各种不规则的形体,各种金属的反射或漂移。

吴益文的那些电子元件作品,则唤起了我们对于数字时代的真实觉知,在无限使用0和1的逻辑舞蹈 中,我们见证了另一个有情众生Ai的诞生。问题是如何确立个体和大众的实际意义和价值,我们作为这个星球的居民,看到数字科技在慢慢融入我们的生活,同时也强化了个体的存在价值,这使得部分和整体在进行同步发展。最重要的是,在金属性、反射性和时间性上,它的作品体现了古希腊人所说的黄金法则。


Irina Ideas


Upon entering the world of art by Wu Yiwen, one wonders, what is it that is so special about the imprint of one of the most ubiquitous forms we observe in everyday life, and then we get the answer, in that very instant of asking.

It is the prevalence that makes this form so powerful, the repetition and uniformity as we face it every single day, the singularity of many tiny objects put together in a package to let itself be shaped by the outside. There is a very particular type of power and transcendence in the two concepts present in this collection, one is about a singularity, something that is unique, standing in its own glory and at the same time the repetition and reflection of that same object/subject infinite number of times.

Our Civilization through history alternated between the two ideals, one was to promote the individuality, almost to a point of building a cult of personality and the other, to make the masses unified in a common goal almost to the point of losing the individual sense and becoming a part of the substance whose shape is defined by the external factors. Exactly in this way Wu Yiwen’s work touches our thinking processes, the way we see reality both as an expression of an individual cell and a part of a whole organism, the larger the organism is, the more influence it gets from the external environment and then we wonder about the balance in the world. How do we achieve the golden mean, and do we stay there or do we proceed with the pendulum from one end to another.

Wu Yiwen is touching upon this very aspect, the balance between one and many and also the interaction between the innovation (movement) and repetition (stasis). The use of colour or absence of it is also communicating about these very same elements through reinforcing the idea of reflection through the use of metal. Our current civilization is soaked in metal from construction industry, design to the space travel, each and every one of them is covered in metal either as a shield or a necessary structure, an integrity that keeps the whole together. In these pieces the use of metal evokes of the frozen moment, the time standing still, wondering at the world as it gets shaped and reshaped in its softness and harshness, flexibility and resistance. Those are all the shades of our perception towards the existence, the reality that surrounds us that wants to dominate and surrender at the same time.

The fact that everything around us is packaged, in most cases with the invisible material, makes us think about the invisible hand that guides the civilization forward, it sinks deep into the subconscious mind and we can only think of patterns here and there that are made with these invisible elements. Wu Yiwen explores and dives deep into the world of patterns, the most universal form of intelligence functioning, as it navigates through life, classifying and sorting the full spectrum. Sometimes this sorting wants to be exploratory so it lives through the irregular shapes almost floats and gets reflected in the other world of metalic reflection, and other times Wu Yiwen’s art works, especially the ones on the wall evoke in me the representation of our digital reality, the infinite use of 0 and 1 as they are interlocked in the dance of calculation and expression as we witness the birth of another sentient being The AI. The question is how will our reality relfect upon an individual and many individuals when we have to think about another inhabitant of this planet, it is slowly integrating with our lives and our machines with the power to reinforce in us a unique individualism and also to make us a part of the organized and synchronized whole. The most important aspect is still in the air between all the metalic, reflective and timeless and it says something the Ancient Greek knew about: a Golden Means.


约书亚(英国 雕塑家)


当我走进上苑艺术馆吴益文的展厅时,仿佛走进一个精心安排、整洁有序的教室。他的雕塑作品放在一个个悬空的像书桌一样的木架上,每件作品都有个性化的状态,或起伏,或卷曲,或褶皱。它们被精心放置在一个个镜像平台上,每件作品都像拥有独特造型的空气袋。

墙壁上悬挂的三件电子元件作品非常简洁而有条理。它们像教室里的三位老师,两位在前面指挥雕塑,后面一位则负责监督每个人的位置。

吴益文的展览,某种程度上实现了宁静与封闭结构的混合感。


Josh Gibbs


When I see Wu Yiwen’s arrangement of works in the Shangyuan Library, I see a carefully ordered classroom formation of forms fixed exactly where they should be. The more structured, forthright paintings are the teachers - two at the front commanding the sculptures, one at the back overseeing the formation keeping everyone in place. The sculptures sit in a more individualised state, undulating, curling and crumpled on their allocated mirrored platforms, each with its own unique pattern of air pockets. A mixed sense of serenity and confined structure is somehow achieved.








车邻(诗人,《新诗馆》主编)


“1的N次方”就是“道”


我总是觉得吴益文兄有股旧时江南士人的文气,这可能和他生长的环境有关

吧。他生于浦江,且不说浦江是被明太祖朱元璋誉为“开国文臣之首”的宋濂的老家,还有诸如书画、迎会、灯会、剪纸、竹根雕、乱弹等丰富多彩的地方文化。总之其地民间文化艺术花样繁多,稍微有点心的人都免不了会受到这种浓烈的地域文艺氛围感染,再加上青山环绕、小桥流水的地理环境,更易让人滋生细腻情感,浮泛起文艺之气。

当然,光有环境是不够的。我们一直都强调传承,其实这是一个难题,从文化角度讲,自1949年后种种运动下来文化传承几乎所剩无几。现在讲大国复兴,我想如果缺了文化上的复兴,最后只能是不伦不类的畸形吧。而这种复兴肯定是不能单靠普通老百姓的文化自觉,他们忙于度日,哪有心思顾得上这些。所以复兴就只能靠吴益文兄等,靠那些在文化艺术领域有创作自觉意识的人。

幸而能结识这样的人,我认为吴益文兄的心胸视野开阔得很,平时和他交流相对多一些,文史哲甚至当下的一些社会问题我们会作一些简单探讨。再加上他二十余年字斟句酌的写作和近十年媒体文字编辑的历练,遂有几本成书,这些都会让他对艺术思考和创作更上一层楼。他可谓是书画(这里的“画”指代艺术创作)不分家,正合旧时江南文士的精神追求,不管物欲有多么横流,总是守着那片属于自己的精神领地。遗憾的是他不好酒,否则花前酌酒唱高歌,不亦快哉。不过饮酒有损健康,还是不做酒鬼的好!

回到他的艺术创作主题上,我一向主张文艺不分家,文给艺术视觉审美所带来的影响不可估量。而他的这次展览以“1的N次方”为主题,背后有他的文化视野支撑。我知道他对道家、禅宗、哲学都有所研究,这些研究很容易让他的艺术创作融合古今,且水到渠成,一些作品甚至是数学和道家思想的融合。

1和0是计算机数码储存计算二进制的基本单位,现在我们在电脑和手机上看到的所有一切,其实都是由1和0两个数组成,包括图像视频等,都是由无数个1和0的计算得来。

在我看来他这次个展“1的N次方”,应该是借用了这个“1”的概念。而“1的N次方”本身属于数学范畴,数学在古时为“术”,所以我把他的个展看作是道术的结合。数学是当今科学技术发展中特别重要的因素,离了它,工业和信息领域很多都玩不转。它代表一种客观自然,一种逻辑理性,一种科学甚至是生产力。但如果只有这个的话,会显得异常数码化、机械化,缺乏人气,更谈不上什么道气,毕竟这个社会是人的社会,而非物和机器的社会。而他的“1”是取自于自然之物,“1的N次方”就是一种重构,且不断循环累积,然后产生新的物,这暗合道家“一生二,而生三,三生万物”。


李念奴 (诗人,艺术家)


关于“1的n次方”的只言片语


从个人感觉出发,吴益文这两个系列作品倾向于冷抽象。冷抽象作为艺术表现语言的一种形式,相较于其它形式而言,我认为它更独特,更微妙,也更不易驾驭和把握,它适合表达那些更超脱更深刻的情感和思想。无论作为一种艺术语言本身,还是它所表现的美,都更纯粹,更直接,更客观,更真实。它并不像一般人认为的那样玄虚和神秘,相反地,它更接近这个世界的本质,某种程度上,也更接近我们人类生活的真相。

吴益文选择了这样一种方式来表达自我,表达他对这个世界的观感和思索,我觉得,这一选择本身已经体现了他作为一名艺术家的品位和层次。可以这样说,他已经占据了一个可以俯视这个世界的高度和位置,他似乎已经处于自己的心灵和精神之外,他成为一个安静的旁观者,拒绝深陷其中。他不动声色地进行描述,发出追问。他有时欲言又止,有时王顾左右而言它,但是他把他想表达的东西准确地传递给了我们。特别难能可贵的是,他在无限接近的同时,又恰到好处地保持了一种距离感,而在这种距离感中,又能赋予和展现一些温情。这些温情似乎于不经意间流露,却总是能够与观者息息相通。我想,这正是吴益文对这个世界的善意和系念所在。毕竟,他不是冷酷的。他一直在暗示我们,即使在最无望之际,这个世界,人,还有希望。 但愿如此。我作如是观。 


牟俊(四川文理学院)


1的N次方,表示N个1相乘之后的乘积,而“乘”是突破了“加”在一维线性上的量变关系,形成了质的突破构建出了二维的平面。在艺术家吴益文看来1是如同时空的奇点,是一切事物的最基本单位,是世界原始的混沌状态,至简至纯。所以在吴益文的艺术作品中“1”是“点”,它的“加”是“线”,“乘”便是“面”,而无数的点、线、面相结合、膨胀、堆积,便构成了我们所处的这个三维世界。它是西方哲学理论中世界是统一的物质的世界,也是中国传统道家“道生一,一生二,二生三,三生万物”大道规律下的世界。海德格尔在《艺术作品的本源》中也认为,艺术作品建立了一个世界并制造大地,物便是作品的大地因素,创作是让某物作为一个被生产的东西而出现,作品把物因素置入敞开的领域中加以显现。

本次展览中的作品分为两个系列,分别以超轻粘土和电子元件作为创作材料,这两种材料载体本身都是人类工业文明的产物。取之于自然中的物,是在人类工业生产活动中进行了解构和重构,再解构和再重构后的不断循环过程后,所幸存的物。在《诗人何为》等文中,海德格尔注意到了我们这个由技术所统治的时代,物早已变得畸形,成为可供计算的市场价值。电子元件系列作品中,洞洞板成为作品的载体,艺术家将自己被动地置于材料板面的限制中,运用每一个单独的元件凝聚大量的时间,将其肆意地组合,在色彩上进行了单纯的色域处理,画面给人的第一印象极其冷静。但久而观之,会发现在理性克制的画面中,充斥着艺术家对于自身艺术认知的张狂和不拘一格的叛逆。回顾艺术家之前的作品,他试图不断在理性中寻求无限的扩张,创造属于自己的世界。

超轻粘土最早于2007年诞生于德国,后广泛运用于全球的少儿艺术教育中。由于其广大的市场普及度和轻便易塑的材料特质,使得它被扣上了廉价、低幼、简便的帽子。而艺术家选择这样年轻低廉的材料,充分利用它的材料属性,保持其密封状态,一点点地撕开外包装,风干,如此往复。在长达数月时间使之完全固化后,再进行上色,一遍一遍地通过时间的介入,使作品呈现出新的不同于材料本身的金属材料质感,充满例外的惊喜。正如格林伯格论新雕塑时所说的,新雕塑提供了“物质是无实体的、无重量的,只像一个幻象一样存在”的幻觉一般。而幻觉便是贾德所说的作品需要的最必要的因素——“有趣”。超轻粘土所带来的材料本身的轻便和作品所产生的厚重的幻觉之间的冲突,展现出近似童真的有趣。

海德格尔认为“艺术作品远不只是物的因素,它还是某种别的什么。这种别的什么就是使艺术家成其为艺术家的东西”。而在我看来,吴益文的作品中,承载作品的“物”,便是无数的“1”,而“某种别的什么”便是萨特所描述的“各各他上空中那一道黄色的裂痕”,便是艺术家在人生中关于自我艺术追求的那个N次方,它代表了艺术家人生中所有的情绪,也塑造了艺术家自身的存在。


席拿(艺术家)


吴益文在个展“1的N次方”系列作品中,还原了他多重内在的精神特质。他将数字做最大化和最小化的艺术重构,展示包涵万物之中的数理关系,以及隐匿其后的谜语,极静无声之中彰显空间。无论多么宏大复杂的物质结构如何复制递增,将1进行代入后,其结果都将归一。这就进入了宗教和社会的主题,人与自然等等无限考量。万法归一,数字的终极归于美,而数字的究竟归于禅。

他的作品从平面进入三维,丰满而又具体,内化外化兼具,展示了创造原初新鲜活泼的玄机。




艺术家简介


吴益文,1971年生于浙江浦江,现居杭州、北京。学者、独立艺术家。著有艺术史专著《非常中国绘画史》《非常道——道教的演变及其对中国文艺的影响》。艺术实践致力于世界文化语境下的艺术转型,以工业文明、信息时代的全新审美感受,结合东方道家文化、禅宗思想与西方极少主义、波普艺术的精髓,形成兼具民族品格、时代气息和国际视野的独特艺术语言。作品先后参加布拉格中欧国际艺术双年展、亚洲青年艺术家提名展、中法当代艺术邀请展等学术展览。


Artist’s Profile


Wu Yiwen, born in Pujiang, Zhejiang Province, currently lives in Hangzhou and Beijing. Scholar, independent artist. He is the author of the monograph “Unusual Chinese Painting History” and “Unusual Taoism-The Evolution of Taoism and Its Impact on Chinese Literature and Art.” The practice is dedicated to the world culture and art in the context of transformation, the industrial civilization in the information age a new aesthetic feelings, combined with Oriental Taoism Zen thought and the essence of western minimalism pop art, the formation of both national character period flavor unique painting language and the international field of vision. His works participated in Prague at the China Europe international art biennale, Chinese and French contemporary art invitational exhibition and other academic exhibitions.


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