細節
陳流
俯山河系列 - 侏儸紀 NO. 7

綜合媒材 紙本 立軸
2009年作
簽名:陳流

展覽
2009年11月22-31日「潛行.流行 陳流09年作品個展」今日美術館 北京 中國

出版
2009年《潛行‧流行 陳流2009作品集》收藏界雜誌社 北京 中國(圖版,第115;圖版為局部,第 117頁)

畫室裡的河流—陳流繪畫藝術尋跡(節選)
湯世傑 (2008)
畫家要找尋的,正是構成各種視覺體驗的秘密。這種找尋使畫家能配以聯想再作「模仿」,成為繪畫作品。即使是日常所見的,也不應僅止從某個固定的點看。創造藝術需要把視點不斷推移、挪動和提升。一輩子只畫同一幅畫,賣同一幅畫,是畫家的悲哀。視看的角度和高度,固然沒有高下之分,卻能反映畫家思索的角度與深度。

到了《天空界》系列,陳流的擺脫了單一的遠看、近看、平視或俯視的透視點,他好像突然有了第三隻眼,將他的藝術演變成了“立體”或多維透視,融合遠古與當今,中國和世界,甚至將人間與神界,科技與自然,都一一納入他的圖像。大地、天空、海洋,乃地球最闊大也最壯觀的三個元素,它們幾乎全方位地出現在陳流的視野中—就像一條河流,儘管流淌在大地,卻映襯著天空,流向著大海。
出版
Collector World, Solo Exhibition of Chen Liu 2009, exh. cat., Beijing, China (illustrated, p. 115; details illustrated, p. 117).
展覽
Beijing, China, Today Art Museum, Solo Exhibition of Chen Liu 2009, 22-31 November 2009.

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拍品專文

The artist wants to pursue the mystery of visual experiences. This pursuit, combines with the artist's imagination, enables him to "imitate", hence a picture is painted to depict the visual experience. Even for our daily life visual encounters, one should not only retain a fixed perspective. When creating art, one needs to constantly move and enhance his perspective. It is a shame for an artist to paint and sell the same piece of work throughout his entire life. Even the magnitude and altitude of perspective is indistinguishable in quality, it aptly reflects the depth of one's thought and reflection.
Chen Liu's Segmented Series departed from the single, close-up, levelled, and bird's eye perspectives and transformed his art into three-dimensional and multiple perspectives. He amalgamates past and future, China and the rest of world, presenting in his paintings a harmony of humanity and deity, technology and nature. The three biggest elements in our universe, earth, sky, and sea all seem to wholly represented on Chen's canvas, like a running stream on a terrain, complimenting the sky and flowing towards the sea.

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