.jpg?w=1)
拍品專文
Contemporary art has developed a diverse network of paths. The question of how to distill one’s visual and intellectual intentions into a multifaceted and unique artistic language, and then furthermore to turn it into something no one has made before, is a daunting challenge for artists working in two-dimensional art. To see how they articulate a complex line of thought and display their technical mastery in this flat plane, we look at how the artists control and manipulate the limited space of the canvas.
Qian Jiahua was born in 1987, graduating in 2011 from the China Academy of Fine Art and now lives and works in Hangzhou. She focuses on the linearity of planar composition and the sensation of balance. As she attempts to capture distinct colors, her concise brushstrokes suffuse the work with rationality. 23:35 is a calm and peaceful work which is neither hasty nor sluggish. The top and bottom of the painting are occupied by a dark brick red and deep black respectively, and in the center there is a large area of milk white which lends a sense of stability to the work. The colors are based on a logic of closeness and firmness. Qian Jiahua believes, “Through the layered superimposition of colors, and the polishing that comes about through this process, many ideas that are beyond control appear and are ultimately represented in the painting.” This careful investigation also involves the use of subjective colors. All of the seemingly “simple” elements fortuitously merge on the flat surface to create systematic links. These extend the work of visual expression into the realms of time and memory. Although the image is diagrammatic, the information it transmits is continuously being developed. Yellow lines piercing through, the black frame that's "painted" by the artist, and the tiny cracks made noticeable by the black lines all have s special meaning to it.
The same direct methods transform personal feelings into visual diagrams for display, and Qian Jiahua clearly positions her work to be decoded and interpreted through the lens of abstract art. Her technical details are well-executed, increasing the potential for her to develop her artistic thinking and context. All three of the paintings by these artists use abstraction and flatness to establish a visual vocabulary. They not only challenge the nature of two-dimensional painting, but are also visually provocative, encouraging viewers to “interpret” and “observe” the understandings and definitions in these works.
Qian Jiahua was born in 1987, graduating in 2011 from the China Academy of Fine Art and now lives and works in Hangzhou. She focuses on the linearity of planar composition and the sensation of balance. As she attempts to capture distinct colors, her concise brushstrokes suffuse the work with rationality. 23:35 is a calm and peaceful work which is neither hasty nor sluggish. The top and bottom of the painting are occupied by a dark brick red and deep black respectively, and in the center there is a large area of milk white which lends a sense of stability to the work. The colors are based on a logic of closeness and firmness. Qian Jiahua believes, “Through the layered superimposition of colors, and the polishing that comes about through this process, many ideas that are beyond control appear and are ultimately represented in the painting.” This careful investigation also involves the use of subjective colors. All of the seemingly “simple” elements fortuitously merge on the flat surface to create systematic links. These extend the work of visual expression into the realms of time and memory. Although the image is diagrammatic, the information it transmits is continuously being developed. Yellow lines piercing through, the black frame that's "painted" by the artist, and the tiny cracks made noticeable by the black lines all have s special meaning to it.
The same direct methods transform personal feelings into visual diagrams for display, and Qian Jiahua clearly positions her work to be decoded and interpreted through the lens of abstract art. Her technical details are well-executed, increasing the potential for her to develop her artistic thinking and context. All three of the paintings by these artists use abstraction and flatness to establish a visual vocabulary. They not only challenge the nature of two-dimensional painting, but are also visually provocative, encouraging viewers to “interpret” and “observe” the understandings and definitions in these works.