[2021-8-4 21:35:38]

上苑批评 | Comments by  |  Josh Gibbs

困兽之斗5

Regarding Lingyan’s most recentinstallations, these daring depictions of the rhinoceros, an odd and unexpectedchoice, open up an uneasy though inquisitive corner of the mind. A dense, burlybeast with a tough hide and an obvious link to harsher prehistoric times iscondensed to a very vulnerable, light, ethereal being trapped in a grid or asan ominous spotlight, outlined in ghostly chalk and an alarming red line. It’sthese opposites, either strikingly contrasting or subtly blended together,which recur across her eclectic yet concisely-themed wider body of expressiveoutcomes.

With differing measures of playfulness andsombreness, her paintings and installations succinctly flit between a clearly defined, grounded concrete reality andan abstract one of delicate illusion. From poignant yet bizarre crime scenes tothe polarising of fundamental opposites, we are offered new forms from herfusing together of what is more immediately recognisable with what is far lessgraspable.

There is a cutting vividness to her shapes asthey sit within ethereal, wandering tunnels and landscapes; a certain spikyquality jumps out of washed out, glazed over cerebral realms. Therefreshingly nuanced range of hues, textures and overall aesthetics arethoughtfully channelled and tempered within the artist’s choice array ofexposed platforms. These visual alarm bells that come with her curious choiceof materials are placed amongst highly immersive, enveloping backdrops.

These jarring clashes which arethoughtfully woven into her work thoroughout have a very provocative nature.From painting to installation, the object of each work’s material likeness—  ridged or smooth, soft or firm — bobsand weaves between its identifiable nature and an alien otherness, neversolidly in one place, tricky to completely pin down. Largely elusive, it isalways a question of two. The dualities present in her work come in many formsand are neatly crystallised into a series of well-packaged, symbiotic vignettes— the resonance of simple answers to questions, the implications of gender, andvolumes of pale obliqueness fading behind representations of the very personal,tangible experiences of the artist.

猫境  160*190cm 布面油画  2021年

《凶案现场》

舲雁作品评论

             ——JoshGibbs

关于舲雁最近的作品，这些大胆的犀牛描绘，奇怪的和意想不到的选择，打开了一个不安，但好奇的心灵角落。稠密魁梧的野兽，有着坚韧的兽皮——明显使人联想到更残酷的史前时代，被浓缩成一个脆弱，轻盈，空灵的灵魂，困在一个网格（《困兽之斗》）；又或是一个不祥的聚光灯，被幽灵般的粉笔和惊人的红线所勾勒（《凶案现场》）。正是这些对立面，形成鲜明的对比，巧妙地融合在一起，在她兼收并蓄、主题简洁但形式广泛的作品中反复出现。

她的绘画和装置以调皮和阴郁的手法，在明确的具体现实和抽象的微妙幻觉之间穿梭。从辛酸而奇异的犯罪现场（《凶案现场》）到基本对立的两极分化（《穿越》系列），她把容易立即识别的东西和不容易理解的东西融合在一起，形成了新的形式。

坐在空灵的、游荡的隧道和风景中时，她的外形有一种被切割的生动；某种尖尖的品质被冲蚀掉的、在大脑中模糊起来。这些清新细致的色彩、肌理和整体美学，是艺术家深思熟虑后整合的。新奇的材料选择，使得这些视觉警钟完全沉浸并嵌入到背景中。

这些令人不安的冲突被深思熟虑地编织进她的作品中，具有挑衅性。从绘画到装置，每件作品具有相似性：或高耸脊背或光滑平坦，或柔软或坚定——在可识别的性质和陌生的属性之间摇摆和编织，从来没有稳固地在一个地方，难以完全固定下来。在很大程度上是难以捉摸的，这始终是一个问题的两个方面。她作品中呈现的二元性有多种形式，并被巧妙地结晶成一系列包装良好的共生小插曲——简单问题答案的共鸣（《矛盾》系列），性别的暗示（《矛盾》系列），苍白而倾斜的体积逐渐消失（《穿越》系列），这些都是艺术家非常个人化、有形体验的表征。

《矛盾》 40*40cm 共4幅 布面丙烯 2019，2021

《穿越》系列  90*170cm 共4幅 布面丙烯  2018

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