“際遇”藝術(shù)作品展

2024-2025

FORTUNE

開幕時間 |Opening

2025/06/17 15:00pm

浙江賽麗美術(shù)館4F

展期|Duration2025/06/17-2025/06/28

藝術(shù)家|Artist

沛雪立 Pei Xueli

冉衛(wèi)紅 Ran Weihong

肖穎 Xiao Ying

地址|Venue

浙江賽麗美術(shù)館4F 杭州上城區(qū)江城路369號

No. 369, Jiangcheng Road, Shangcheng District

蒼梧六堡茶業(yè)有限公司

Cangwu Liubao Tea Co, Ltd.

蒼松六堡云在燒藝術(shù)工作室

Cangsong Liubao Yunzai Pottery Art Studio

云在燒沛雪立工作室

Yunzai Pottery Pei Xueli Studio

青花釉里紅的主要原料是氧化鈷和氧化銅，燒制過程分為二段：前段是燃除碳素的氧化燒，后段是還原燒。氧化階段除碳務(wù)盡，只有在窯內(nèi)物質(zhì)得到充分氧化后，才好干干凈凈地接受后期的還原。如果氧化不徹底，碳素得不到盡除，會導(dǎo)致還原出現(xiàn)諸多瑕疵。個中的科學(xué)原理無須深究，倒是這個氧化階段的屬性頗有意味，兩個階段的關(guān)系也似有啟示——藝術(shù)能干什么？

有如感性與理性的關(guān)系。哪些事情是藝術(shù)要做且能做的，哪些事情不屬于藝術(shù)范疇，“僭越”會適得其反。

有如氧化與還原的關(guān)系。真正能使感覺充分、飽滿地進入純粹表達(dá)，正是那個最為珍貴的、彌漫著溫存與敏感的、不大靠譜的情緒狀態(tài)。需要保持的是持續(xù)待在這個沒有“遠(yuǎn)見卓識”的狀態(tài)中，持續(xù)專注內(nèi)心的此時此刻。這個持續(xù)的狀態(tài)好似那個氧化階段，應(yīng)該是純粹的、干凈的、徹底的、完全的。

好在形式法則或守正、或叛逆、或離經(jīng)，在當(dāng)下都能被包容。幸運的是際遇。

沛雪立

2025.1.28

The main raw materials of blue and white with underglaze red are cobalt oxide and copper oxide. The firing process is divided into two stages: the first stage is the oxidation firing to burn off carbon, and the second stage is the reduction firing. In the oxidation stage, all carbon must be completely removed. Only when the substances in the kiln are fully oxidized can they be cleanly and thoroughly reduced in the later stage. If the oxidation is not thorough and the carbon is not completely removed, it will lead to many flaws in the reduction. There is no need to delve into the scientific principles involved. What is more interesting is the nature of the oxidation stage and the relationship between the two stages, which seems to offer some enlightenment - what can art do?

It is like the relationship between sensibility and rationality. What are the things that art should and can do, and what are the things that do not fall within the realm of art? "Overstepping” will be counterproductive.

It is like the relationship between oxidation and reduction. The truly pure, full, and complete expression of feelings comes precisely from that most precious, tender, and sensitive emotional state that is not very reliable. What needs to be maintained is to remain in this state without "foresight" and to focus continuously on the present moment of the inner self. This continuous state is like the oxidation stage, which should be pure, clean, thorough, and complete.

Fortunately, the formal rules, whether they adhere to orthodoxy, rebel, or deviate from the norm, can all be tolerated in the present.

Fortunately, it is an encounter.

Pei Xueli

January 28th, 2025

#自述#

Autobiography

青花釉里紅自連理以來，演繹出多少千嬌百媚。

無所不及的感知，無法遮蔽的真實，認(rèn)知方式不泥定式的變化，意義的重新發(fā)現(xiàn)，表達(dá)方式自然無定。

遵循傳統(tǒng)工藝美術(shù)的裝飾法則，折枝、纏枝、適形、對稱……在傳統(tǒng)裝飾意義的結(jié)構(gòu)和骨式法度里，不計一莖一脈、一緣一柄的惟妙惟肖，偏好一筆一墨、一點一線、一暈一染的形態(tài)與情緒，傾注真實生活的具體感受，試著把裝飾意義轉(zhuǎn)化成表達(dá)意義。

Since the inception of blue and white with underglaze red, countless charming variations have emerged.

The all encompassing perception, the unobscured truth, the ever changing cognitive methods that do not adhere to fixed patterns, the rediscovery of meaning, and the natural and fluid forms of expression.

Adhering to the decorative principles of traditional arts and crafts, such as broken branches, entwined branches, adapting to shapes, and symmetry, within the framework and rules of traditional decorative significance, it does not focus on the meticulous imitation of every stem, vein, edge, and handle, but rather prefers the forms and emotions conveyed by every stroke, every ink, every dot, every line, every shade, and every wash. It pours in the concrete feelings of real life, attempting to transform decorative significance into expressive significance.

#自述#

Autobiography

基于性格、心靈、感知、覺悟、沉淀、積累……人的全部，她總試圖詮釋自然的、社會的、觀念的、情緒的、荒誕的、失衡的……憑直覺尋找一切可能性。然而無論怎么辨析明理，都須在一個時間點確定、凝結(jié)、物化、呈現(xiàn)。

凡事都有價值，忠于內(nèi)心，改變觀看方式，找到心安理得的自洽狀態(tài)是最高境界。

阿爾貝·加繆說：“凡是有價值的東西，人都無能為力?！币欢ㄒ饬x上這是真理，也是人們不懈創(chuàng)造相對價值的動力。

其實，“不可控因素”才是最寶貴的。

Based on one's entire being, including personality, soul, perception, awareness, precipitation, and accumulation, she attempts to interpret the natural, social, ideological, emotional, absurd, and imbalanced aspects, and seeks all possibilities by intuition. However, no matter how clearly one analyzes and understands, it is necessary to determine, condense, materialize, and present at a certain point in time.

Everything has value.Being true to one's heart, changing the way of looking, and finding a state of self consistency with a clear conscience is the highest realm.

Albert Camus said, "Man is powerless in the face of everything that is of value." In a certain sense, this is the truth and also the driving force for people to unremittingly create relative value.

In fact, the "uncontrollable factors" are the most precious.

#自述#

Autobiography

對于一個有信仰的人而言，我試圖在畫面中呈現(xiàn)出一種人與自然共生的狀態(tài)，同時表達(dá)出對生命的敬畏和向往。在創(chuàng)作時，天氣的陰與晴，空氣的干與濕，氣候的炎與寒，都能導(dǎo)致作品呈現(xiàn)不同。創(chuàng)作中，在做好所有的物理準(zhǔn)備之后，我通過潑、灑、倒、撕等一系列動作，與所使用的媒材發(fā)生關(guān)系，確定自己已經(jīng)融入空間、時間、溫度、濕度等元素組成的場域，并留下痕跡或是存在的證明之后，才開始關(guān)照造型、色彩，關(guān)照畫面本身，直至最后完成作品。

For a person with faith, I attempt to present a state of symbiosis between humanity and nature in my paintings, while expressing reverence for and yearning towards life. During the creative process, the cloudy or sunny weather, the dry or humid air, and the hot or cold climate can all lead to different presentations of the work. In my creation, after making all the physical preparations, I interact with the media through a series of actions such as splashing, sprinkling, pouring, and tearing. Only after confirming that I have integrated into the field composed of elements like space, time, temperature, and humidity, and left marks or proof of my existence, do I start to pay attention to the shape, color, and the painting itself, until finally completing the work.