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“凡视”苏宇个展

  • 展览海报
  • 《有色眼睛 When They See Us》 苏宇 80x60cm 2014年 布面油画 Oil on Canvas
  • 《砍伐 Deforestation》 苏宇 50x60cm 2014年 布面油画 Oil on Canvas
  • 《烟花 Fireworks》 苏宇 40x30cm 2014年 布面油画 Oil on Canvas
  • 《传统与束缚 Traditional Bondage》 苏宇 50x60cm 2014年 布面油画 Oil on Canvas
  • 《传统与当今 Tradition and the Past》 苏宇 100x80cm 2014年 布面油画 Oil on Canvas
  • 《别忘记传统 Don't Forget Tradition》 苏宇 60x50cm 2015年 布面油画 Oil on Canvas
  • 《门里门外 The Story of Four Girls》 苏宇 80x60cm 2015年 布面油画 Oil on Canvas
  • 《素描练习 Sketch practice》 苏宇 23x20cm 2015年
  • 《安娜 Anna》 苏宇 80x60cm 2014年 布面油画 Oil on Canvas
  • 《图像与绘画 Images and Paintings》 苏宇 40x30cm 2015年 布面油画 Oil on Canvas
  • 《信 Letter》 苏宇 200x180cm 2015年 布面油画 Oil on Canvas
  • 《午后的争吵 The Quarrel in the Afternoon》 苏宇 200x180cm 2016年 布面油画 Oil on Canvas
  • 《不敬的宴席 Irreverent Feast》 苏宇 145x113cm 2016年 布面油画 Oil on Canvas
  • 《蓝天下的拆毁 Demolition Under the Blue Sky》1 苏宇 200x180cm 2016年 布面油画 Oil on Canvas
  • 《蓝天下的拆毁 Demolition Under the Blue Sky》2 苏宇 200x180cm 2016年 布面油画 Oil on Canvas
  • 《蓝天下的拆毁 Demolition Under the Blue Sky》3 苏宇 200x180cm 2016年 布面油画 Oil on Canvas
  • 《蓝天下的拆毁 Demolition Under the Blue Sky》4 苏宇 200x180cm 2016年 布面油画 Oil on Canvas
  • 《泡沫水池 Bubble Pool》 苏宇 40x30cm 2016年 布面油画 Oil on Canvas
  • 《雨半 Two-Halves》 苏宇 40x30cm 2016年 布面油画 Oil on Canvas
  • 《废弃 Abandon》 苏宇 40x40cm 2016年 布面油画 Oil on Canvas
  • 《黑夜 Night》 苏宇 200x180cm 2016年 布面油画 Oil on Canvas
  • 《对峙 Confrontation》 苏宇 160x120cm 2016年 布面油画 Oil on Canvas
  • 《孕中 Pregnant Cow》 苏宇 160x120cm 2016年 布面油画 Oil on Canvas
  • 《雨后 After the Rain》 苏宇 200x180cm 2016年 布面油画 Oil on Canvas
  • 《我的信仰告白 My Confession of Faith》 苏宇 160x100cm 2017年 布面油画 Oil on Canvas
  • 《耶稣隆重 The Grand Ceremony of Jesus》 苏宇 80x50cm 2017年 布面油画 Oil on Canvas
  • 《不愿意面对 Not Filling to Face》 苏宇 160x120cm 2017年 布面油画 Oil on Canvas
  • 《犯罪 Crime》 苏宇 160x120cm 2017年 布面油画 Oil on Canvas
  • 《耶稣基督成就新约 Jesus Christ Fulfill New Testament》 苏宇 105x65cm 2017年 布面油画 Oil on Canvas
  • 《罪进入世界 Sin into the World》 苏宇 105x65cm 2017年 布面油画 Oil on Canvas
  • 《亚伯拉罕献以撒 Abraham 's Offering of Issac》 苏宇 105x65cm 2017年 布面油画 Oil on Canvas
  • 《时尚与古典 Fashion and Classics》 苏宇 200x180cm 2017年 布面油画 Oil on Canvas
  • 《价值 Value》 苏宇 70x50cm 2017年 布面油画 Oil on Canvas
  • 《找到哈尔斯 Find Hals》 苏宇 60x50cm 2017年 布面油画 Oil on Canvas
  • 《疼 Pain》 苏宇 60x40cm 2017年 布面油画 Oil on Canvas
  • 《相依 Dependence》 苏宇 60x40cm 2017年 布面油画 Oil on Canvas
  • 《当了父亲的小画家 Father's Little Painter》 苏宇 255x180cm 2017年 布面油画 Oil on Canvas
  • 《未完成 Unfinished》 苏宇 160x120cm 2017年 布面油画 Oil on Canvas
  • 《打疫苗 Vaccinating Oil on Canvas》 苏宇 200x180cm 2017年 布面油画 Oil on Canvas
  • 《活下来 Survive》 苏宇 200x180cm 2017年 布面油画 Oil on Canvas
  • 《创作<两个小病友的妈妈>的起稿 Creating the draft of Two Young Patients'Mother》 苏宇
  • 《80后的那些事的草图 The Preliminary Sketch of The Stories of 80's People》 苏宇
  • 《两个小病友的妈妈 Two Young Patients'Mother》 苏宇 200x180cm 2017年 布面油画 Oil on Canvas
  • 《80后的那些事 The Stories of 80's People》1 苏宇 360x200cm 2017年 布面油画 Oil on Canvas
  • 《80后的那些事 The Stories of 80's People》2 苏宇 360x200cm 2017年 布面油画 Oil on Canvas
  • 《80后的那些事 The Stories of 80's People》3 苏宇 360x200cm 2017年 布面油画 Oil on Canvas
  • 《逝去的记忆 Past Memories》 苏宇 200x180cm 2018年 布面油画 Oil on Canvas
  • 《我们是寄居者 We Are Sojourners》1 苏宇 360x200cm 2018年 布面油画 Oil on Canvas
  • 《我们是寄居者 We Are Sojourners》2 苏宇 360x200cm 2018年 布面油画 Oil on Canvas
  • 《我们是寄居者 We Are Sojourners》3 苏宇 360x200cm 2018年 布面油画 Oil on Canvas
  • 《素描练习 Sketch practice》 苏宇 23x20cm 2015年
  • 《观望 Watching》 苏宇 50x50cm 2018年 布面油画 Oil on Canvas
  • 《素描练习 Sketch practice》 苏宇 23x20cm 2015年
  • 《小胡同 Lane》 苏宇 50x50cm 2018年 布面油画 Oil on Canvas
  • 《卖 Selling》 苏宇 40x30cm 2018年 布面油画 Oil on Canvas
  • 《实景 Real scene》 苏宇
  • 《醉 Drunk》 苏宇 50x540cm 2018年 布面油画 Oil on Canvas
  • 《开会 Attending a Conference》 苏宇 60x40cm 2018年 布面油画 Oil on Canvas
  • 《危机 Crisis》 苏宇 53x46cm 2018年 布面油画 Oil on Canvas
  • 《走 Walking》 苏宇 50x40cm 2018年 布面油画 Oil on Canvas
  • 《大爷推门来看我 Uncle Pushing the Door to See Me》1 苏宇 400x360cm 2018年 布面油画 Oil on Canvas
  • 《大爷推门来看我 Uncle Pushing the Door to See Me》2 苏宇 400x360cm 2018年 布面油画 Oil on Canvas
  • 《大爷推门来看我 Uncle Pushing the Door to See Me》3 苏宇 400x360cm 2018年 布面油画 Oil on Canvas
  • 《大爷推门来看我 Uncle Pushing the Door to See Me》4 苏宇 400x360cm 2018年 布面油画 Oil on Canvas
  • 《大爷推门来看我 Uncle Pushing the Door to See Me》5 苏宇 400x360cm 2018年 布面油画 Oil on Canvas
  • 《画室的窗 The Window of Studio》 苏宇 200x180cm 2018年 布面油画 Oil on Canvas
  • 《广播 Broadcast》 苏宇 200x150cm 2019年 布面油画 Oil on Canvas
  • 《我们是寄居者 We Are Sojourners》2 苏宇 360x200cm 2019年 布面油画 Oil on Canvas
  • 《我们是寄居者 We Are Sojourners》1 苏宇 200x180cm 2019年 布面油画 Oil on Canvas
  • 《我们是寄居者 We Are Sojourners》3 苏宇 200x180cm 2019年 布面油画 Oil on Canvas
  • 《临摹丢勒素描 Facsimile Durer's sketches》 苏宇
  • 《素描练习 Sketch practice》 苏宇
  • 《蓝天下的拆毁》 苏宇 600x180cm
  • 《我们是寄居者》 苏宇 1100x200cm
展览时间:
2019-11-30 - 2019-12-31
开幕时间:
2019-11-30 15:00
展览城市:
北京 - 北京
展览机构:
798国际艺术交流中心
展览地址:
朝阳区酒仙桥路2号798艺术区A区A04栋
策 展 人:
石良
主办单位:
中国当代具象艺术中心 798国际艺术交流中心
承办单位:
2019年匡时在线拍卖
参展人员:
苏宇

展览介绍

我试着不用过去的经验和艺术的喜好去看年轻画家的作品,说实话是不容易做到的,一来所建立起来的价值判断没有理由推翻,二来经验所证明的判断确有说服力,从这个角度看,我非常喜欢苏宇!是我非常得意的学生。

苏宇具有独立的思考和判断能力,艺术的思维敏锐具有韧性,在艺术的价值观上清晰明确,具有非常自我的构建意识,艺术的表达方式上尊重传统的精神和语言价值,在精神和情感的诉诸和表达上具有现实的批判性和温暖的悲悯感。他所有作品的灵感来自现实的世界,具有可信的情感基础,但又不是廉价和世侩的粉饰和图解现实。他尊重他自己感知到的现实,把这一切当做他艺术生成和表达的基础,不拔高,不曲解,不做作,以和生活的平行态度驾驭他自己艺术的基调,在平凡的生活中寻找艺术动人的基因,在世俗的世界里超越世侩,他仰望星空,却坚实的行走在现实的地面上。他从现实和内心出发,用他生命的信念,对绘画的热爱,不妥协的意志,勤勉不缀的艺术劳作,为自己赢得尊严!

看一个年轻艺术家的未来,首先看他艺术追求的目标,二看他艺术思辩和判断能力,三看他艺术价值观念的取向,四是看他持守和抗压的意志品格。当然最重要的是他必须有支撑起这些因素的才华做基础。在一个天才面前你只有叹气。看苏宇画画有两种生理反应:一是眼发直,二是手出汗。以他的学画经历算不得体面,他绘画基础除去不专业的基本教育外,来自少年对涂抹的热爱,少年的他把青春的荷尔蒙都发泄在对形与色的兴致和对大师作品的摹习追慕上,看他画画的本事和水准,我就不能用受教育的程度去衡量他绘画的水平了。都说勤能补拙,我相信。可我更相信天才是挡不住的!你看他行笔有形有趣,色彩沉稳辉煌。画面潇洒自如。最重要的是已经开始用他的才华讲自己的故事。没错!我说的就是你,有天份的苏宇。

此前曾赞苏宇天才。有一种人是勤能补拙,有一种人伸手唾得。他是二者合一,在青年时期有这种气象的有当年同窗的刘小东和赵半狄。多年后,我看到了另一个有类似才华的青年人苏宇也具不费吹灰之力便烟飞灰灭之能。陈丹青老师曾赞苏宇是大手笔。前两年拆迁现场写生,一气呵成,神情兼备,张驰有度,松紧有节。大散手、活赶趟,行笔憨畅、色彩张扬。已登堂入室,俨然有样。近几年随着他生活的不断的积累,艺术思考的维度和深度得到了极大的提升,作品的力度和对现实意义表现更加有力明确,作品内涵愈发深刻,内容涵盖生活的方方面面,绘画的语言能力在艺术思考和形成自我的驱使下自然的提升,呈现出勃勃生机,散发着生命的力量和孜孜以求的盎然活力。苏宇有信仰、有情怀、有理想、有担当,深知艺途中的陷阱和诱惑,面对一切他有勇气舍弃眼下的世俗利益。这在当下社会艺术生态里是一种积极的力量,是不可多得的活性因子。

艺术的问题首先是人的问题,哪里有生活,哪里就有问题,艺术家就是用自己的感知找到痛点,发现问题,提出问题,用自己最自然和独特的艺术本体语言,提供有视觉性和思想空间的艺术创造。从这个意义上来说苏宇是一个有未来的青年艺术家,符合当代具象的艺术理念,中国当代具象艺术中心非常乐于推出这样有未来的艺术家!

预祝展览能引起广泛的思考和关注!
石良2019年10月

Honestly, it's not always easy for me to appreciate the works of young painters without relying on my past experiences and artistic preferences. For one thing, I have no reason to overthrow the already established value judgments; for another, the experience-tested judgments are indeed more convincing. From this perspective, I like Su Yu very much! I'm very proud of him.

With the capabilities of independent thinking and judgement as well as a sharp and tenacious mind for art, he shares a clearly defined art value and a conscious self-construction awareness. Respects are shown to traditional spirits and language values in terms of artistic expressions, with the realistic criticism and warm compassion pervading in spiritual and emotional expression. Inspired by the real world, all his works are credibly based on emotions, disdaining to sugarcoating or illustrating the reality in a cheap and vulgar way. The reality he perceives is also what he respects, which is regarded as the basis of his artistic creation and expression. Without exaggeration, misinterpretation, and affectation, he controls the tone of his own art with the same attitude to life, and seeks the touching pieces of art in ordinary life. With his mind beyond the secular world, he looks up at the stars, while walking solidly on the ground. Starting from reality and his own heart, he wins himself dignity with his life's beliefs, his passion for painting, his uncompromising will, as well as his diligence for artistic works.

The future of a young artist is defined by artistic pursuits, artistic thinking and judgment abilities, artistic values, persistence, and stress-handling capability. Most importantly, talents must serve as the foundation of all these factors. You will do nothing but sigh in front of a genius. Two physiological reactions are noticeable when Su is painting, staring eyes and sweating hands. His studies in painting were barely decent. His basis of painting derives from the unprofessional basic education, as well as his passion for painting from childhood. His zest for shapes and colors as well as the worship for masterpieces are an outlet for his hormones as a little boy. His overall strength amazes me, forcing me to dismiss the cliché of measuring the level of paintings from the level of education. The truth has been repeated over and over that practice makes perfect, and I'm a loyal believer. But I have more faith in the cream always rises to the top! His style of drawing presents a tangible and interesting trend, and the color is calm and brilliant. The sense of casual ease can be felt in the scene. And most importantly, he has begun to tell his own stories with his talents. That's right! I am talking about you, Su Yu, the talented.

Previously, I have praised Su as a genius. There are two kinds of people, who practice diligence redeems stupidity, and who easily can get things within reach, while Su is the combination of the two. The same spirits, in one's youth, can be felt from Liu Xiaodong and Zhao Bandi, my school mates. After many years, Su Yu, another young man with similar talents, can also create overwhelmingly stunning works effortlessly. Chen Danqing, a famous Chinese painter, once spoke highly of him as as a big shot. Two years ago, he sketched at a demolition site at a heat, with the emphasis on the spirit and shape, as well as the exhibition of complete flexibility. Merry and dizzy, he smoothly swung his brushes with bright colors, which already seemed quite proficient and professional. The continuous accumulation of life experiences in recent years has greatly improved the dimension and depth of his artistic thinking. The power of his works and the expression of the actual meaning are more powerful and clear. With more profundity in the content of his works, he tries touching upon all aspects of life. The language ability of painting is naturally promoted by the artistic thinking and the formation of self, full of vitality, the power of life and the diligently striving vitality. With faiths, feelings, ideals, and responsibilities, he fully realizes the traps and temptations in his art career, with the courage to abandon current secular interests in face of everything. As a positive force, he is also a rare active factor in the current social and artistic ecology.

The problem of art, is first of all, the problem of human beings. Wherever there is life, there is a problem. Artists use their own perceptions to find pain points, discover problems and ask questions, providing the artistic creation of visuality and thinking space with his most natural and unique artistic ontology language. In this sense, Su Yu is a young artist with great potentials, which is in line with the contemporary figurative art concept. The Centre for Chinese Contemporary Figurative Art will be rejoiced to introduce such an artist!

I wish the exhibition can attract widespread thinking and attention!

Shi Liang
October, 2019

我与绘画

我的父亲是一个小古玩商人,母亲是家庭主妇,也是一名基督徒。我迄今无法忘怀的儿时记忆,是父母看我喜欢画画,就花了不少心思从古玩市场给我买了两本国画书。我把自己很喜欢的一本,竟然用铅笔几乎全部临摹了一遍。临好之后就贴在墙上,送给老师和亲人。隐约记得,那时我是上小学,初中的样子。还有一次,母亲带我看电影《米开朗基罗》,她关注的是天堂,地狱,耶稣;我却关注米开朗基罗的西斯庭天顶画和大卫,甚至立志成为像米开朗基罗一样的大师。

在整个大环境教育背景下,中国美术高考可谓震撼全世界,艺考是每个艺术学生必须要面临的考验。我也在所难免地经历艺考——要么放弃,要么死磕到底!幸运的是,经过一位水平很高的老师,以一种不应试的方式坚持到了最后。我的素描,色彩和速写成绩都是优秀,但终因几年没有认真学习文化课而导致文化课失利,最终没能考入美院。曾经有段时间不愿意提起艺考的伤心往事,但现在觉得也没有什么遗憾。

上大学之后,就一直认为艺术不仅仅在美术学院里,所以自己也从未放弃过。我开始专研欧洲大师的画,开始临摹。记得有一两年的时间我几乎天天晚上都临摹大师的素描。从高中起,大概有七,八年的时间,我都在研究临摹大师的素描。精品临摹至少有一百张,而泛泛的临摹不计其数。

来到油画院学习后,大量的写生爆发出我的基本造型和色彩的能量。最初石良老师就发现我的绘画恩赐,毕业展时全体老师给我投票,让我获得最高奖项。毕业展上,陈丹青老师对我的作品欣赏备至,给予很高的评价。最后毕业典礼,杨飞云院长亲自给我颁发奖项和奖学金。可是我当时一点也没有尝到当艺术家的滋味。对于艺术是怎么回事完全不知道,就感觉满身的热血不知道往哪使劲!

直到受到石良老师的指教才开始进入到艺术家层面所涉及到的方方面面。石良老师不仅把我们当学生来看待,更愿意把我们当艺术家来对待。他尊重我们每个人的内心世界。他的影响极为重要。如果没有石良老师在艺术上的教导和启发,生活中像长辈一样帮助,我现在一定不会画到这种程度。

油画院毕业后的五年,才是我艺术最大的成长阶段。这期间经历生活的琐碎,结婚,生娃,养娃。经历艰难,也经历欢喜。绘画也和我一起经历这些。我的绘画从自我审视开始,从自己的身边画起,到画拆迁。近十几年拆迁这个话题总是伴随着我。我从上高中就经历拆迁,此后近十几年,拆迁这个话题在我家总是被提起,因为牵涉到分钱,分房,但是这些都不是一下得到的,来来去去竟然折腾了十多年了!后来,我妻子家里也经历拆迁。北京工作室也拆迁。所以拆迁成为我的话题,也是中国的话题。在这个过程中,我逐渐找到了自己,觉得画画比以前有意思。

结婚后,有了孩子,身份的转变也给艺术带来新的触动。苦涩的记忆会成为创作中极为宝贵的灵魂。它会让你“痛”,你的思绪会变得极为敏锐。创作的源泉不断地往外涌,因为你不想停下来,一停下来就会更“痛”,所以有时画布就成为我情感的诉说,甚至是宣泄。于是,你所有的想法都是你最想画的。因为这些记忆离你太近了。自己的痛会延伸到人在当下的痛,会看到事物的真相。这不是说我是悲观主义者,而是不想回避真相,因为它关乎“人的问题”。就比如我带着我刚出生不久的女儿去打疫苗,蹲在门口的几个外地打工的妇女抱着孩子在外面等候。眼睛里透露出焦急和不安。很有意思。这张画画完一年后就出现了轰动全国的“疫苗事件”。从这样的视角我将身边形形色色人或事,放进我与绘画的心声里。画画不是全国美展的事,不是卖画的事,而是刻骨铭心的记忆和爱情。

艺术家最好的回应就是作品,而不是语言。我们似乎过于迷恋语言,而忘记艺术家的身份,艺术最本真的目的。19世纪后期印象派出现之后,艺术家在画布上寻找更多的可能性,语言上不断创新。如果你翻开他们的历史,就会知道他们绝不是简单的找语言,或者研究语言。每个艺术家都是站在自己的土地,所处的时代有全新的认知。他们要用艺术给社会带来什么?而这种带来不是一般意义上的美,甚至不符合大众的趣味。而是经过反思,否认,立意,创新,深成面的一种表达。这时语言才变得有血有肉。纵观欧洲艺术史,什么时代就出现什么样的艺术家。他们研习传统,理解传统,尊重传统,甚至背叛传统。历史上艺术是从征战中走出来的。其实每个人都应该有独立的思考,更何况艺术家?无论是对世界,对人性,对当下,对艺术更应该诚实相对,而不是麻木不仁。

我知道自己已在路上,我希望这样的绘画状态能一直延续。生命短暂,一个艺术家黄金状态也不会总有,让我们珍惜这一切。

苏宇
2019年10月

Painting and I

My father is a small antique dealer, while my mother is a housewife as well as a Christian. My lingering unforgettable childhood memories were the two Chinese painting books given by my parents who arduously tramped the antique market just for seeing my fondness for painting. Almost every painting in the book I liked very much were imitated by me with a pencil. Those copies were put up on the wall and given to my teachers and relatives. I could vaguely remember that I was in elementary school or junior high school. Another case was that my mother, who once took me to watch the movie "Michelangelo", was concerned about heaven, hell, and Jesus, while I paid attention to the Sistine Ceiling Frescoes and David, and was even determined to become like a Michelangelo-alike master.

In the context of the overall education scenario, the Chinese art college entrance examination shocks the whole world. The art examination is an inevitable test for every art student. I was no exception-either giving it up or arduously sticking it out! Fortunately, instructed by a high-level teacher, I persisted to the end, without taking the entrance examination. I got excellent scores in my sketch and color exams, while failing to be admitted to the Academy of Fine Arts with unsatisfactory marks in cultural courses due to my undisciplined and indulgent learning attitude. There was a time when I was unwilling to mention my sad memories of the art test, but now I has no regret.

After going to college, I have always believed that art does not only exist in the School of Fine Art, so I have never given it up. I devoted myself in studying the paintings of European masters and copied them. For a couple of years, as I have remembered, I spent almost every night copying the sketches of those masters. About seven or eight years from high school have witnessed my study on the sketches of masters. There are at least one hundred meticulous copies, while the hasty ones are countless.

The energy of my basic modelling and colors broke out after exercising numerous sketches ever since I came to study in the Oil Painting Institute. My gift of painting was first discovered by Professor Shi Liang, who helped me to win the highest award with all affirmative votes from my teachers during the graduation exhibition. Meanwhile, Professor Chen Danqing gave a high appreciation to my works. At the graduation ceremony, Yang Feiyun, President of the Institute, personally presented me with awards and scholarships. However, I did not feel like an artist at that time, totally unaware of art, and just feeling my overflowed passions not properly positioned.

It was not until the instruction of Professor Shi Liang that I began to touch upon all the artist-level aspects. He not only treated us as students, but also as artists, respecting the inner worlds of every one. The significance of his influence is self-evident. I would not have achieved such a success in painting without the teaching and inspiration of Professor Shi Liang in art, as well as his help in life as a senior.

The five years after my graduation from the Oil Painting Institute saw me most prominent improvements in art. Getting married, giving birth to and raising my baby during this period, I experienced the triviality of life, with difficulties and joys. The same experiences happened to my paintings. My painting begins with self-examination, from focusing on my own stories to demolition. The topic of demolition never leaves my mind in the past ten years. Demolition had been mentioned in my life since high school and was constantly talked about over a decade since then. The issue of dividing money and houses was also involved while the process was not a light lift, taking over ten plaguing years. Later, the house of my wife's family as well as our studio house in Beijing were both removed. Therefore, demolition is not only a topic of my own, but also a topic of China. In the process, I gradually found my own identity, feeling that painting was more interesting than before.

New sympathetic chords were stricken by my transition of identities due to my marriage and delivery of a baby. Those bitter memories will become an extremely precious soul in my creation, making me feeling "painful" and sharpening my mind. The source of creation constantly rushes out, while I don't want to stop, as it will be more "painful" when I stop. Therefore, sometimes the canvas becomes my emotional expression, and even catharsis. So all your thoughts become what you most want to paint, as they are too close to you. Feeling painful, I will extend my view to the present pains of other people, and unveil the truth of things. This is not because I am a pessimist, but that I do not want to avoid the truth, as it is about the "human issue". A case was that I once had my newly born daughter immunized, while several non-local women laborers were carrying their children in their arms, waiting outside at the door, with anxieties and worries in their eyes. Quite interestingly, the nation-stirring "vaccine incident" happened just one year after my painting of this scene. From this perspective, I put a mixed bunch of people or things around me into the cores of my paintings. Painting is not about the national art exhibition or selling, but about the unforgettable memory and love.

The best response from artists is their works, rather than languages. It seems that we are too obsessed with languages to forget the identity of artists-the most authentic purpose of art. After the emergence of the Impressionism in the late 19th century, artists sought more possibilities in their paintings and continued to innovate in their languages. Referring to their history, you will find that they were not simply looking for or studying a language. Standing on their own land, every artist had a new understanding of their era. What did they want to bring to the society with art? However, what they brought were not the kind of beauty in the general sense, which even did not meet the taste of the public, but a deep-level expression after reflection, rejection, conception and creation. Only at that time would the language become bloody and fleshy. Throughout the history of European art, different eras cultivated different artists, who studied, understood, respected and even betrayed traditions. Art came out of the war in history. In fact, everyone should have independent thinking, let alone artists? Whether it comes to the world, to humanity, to the present, or even to the art, we should be more honest, rather than numb.

I know that I am already on the road, I hope that my state of painting can always continue. Life is a shuttle, and an artist's golden stage will not be long-lived. Let us cherish all of this.

Su Yu
October, 2019

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