.png)
Media Interviews ｜
媒體專訪
Wang Jianxiao: Brilliant Light Text | Zhang Mengyang March 2023 I first saw Wang Jianxiao's works at an art fair. Through conversation, I learned that she graduated from the Central Academy of Arts and Design, the predecessor of the School of Fine Arts of Tsinghua University. She was also my senior, so naturally we were quite familiar with each other. The first impression of her works is that they are quite "Zen-like". Invisible in color, the harmony and beauty of the pictures emerge naturally. Greenberg once said: "Art is to achieve the quality of 'purity' through its irreducible and inseparable self-expression. In Wang Jianxiao's works, she does not hide her preference for flatness and purity. As an artist who has lived in Japan and the United States for many years, Wang Jianxiao has experienced the collision and integration of Chinese and Western cultures. The experience of living abroad has had a profound impact on her creation, and her works have gradually formed the current style. While at the Central Academy of Fine Arts, Wang Jianxiao majored in lacquer painting, which brought different inspirations and techniques to her artistic creation. While studying in Japan, she continued to study lacquer art techniques and began her own innovation and practice on this basis. It was also during this period that abstract elements began to appear in her work. Even now, the influence of Wang Jianxiao's lacquer painting experience on her can be clearly felt in her works. She is good at expressing the texture of the picture, and different texture effects are often the key to interpreting her various series of works. After finishing her studies in Japan, Wang Jianxiao went to live in the United States for many years. During this period, she was more influenced by Western art styles such as abstract expressionism, which laid the foundation for her to start a new abstract art creation after returning to Hong Kong. In her works in recent years, Wang Jianxiao often uses a palette knife, which is an important carrier of her creative inspiration. Many of the texture effects on the canvas are created with a palette knife, with the lines and blocks of color presenting a strong sense of rhythm and movement. This creative method is actually very time-consuming and laborious, and is far less enjoyable and free than using a brush. But Wang Jianxiao prefers to use the former. For a 60-year-old artist, such persistence and concentration are invaluable. The effect in the "Fifty Shades of Grey" series is created by piling up paint with a palette knife. The volume of the paint itself is magnified, and ultimately a unique texture is formed through constant repetition. The initial idea for the work "Clear Wind and Light Clouds" came to Wang Jianxiao when he was flipping through a magazine in a barber shop. In this series, Wang Jianxiao began to use large areas of white. Other works with similar styles include "Time Flows Like Water". Some concrete elements also appear in Wang Jianxiao's abstract paintings, such as flower shapes and flying bird patterns. These elements may come from her dreams, fantasies or fragments of life, and they are given certain specific meanings in her works, such as the "Twenty-Four Solar Terms" series of paintings. These works extend into different directions, marking Wang Jianxiao's repeated adjustments and explorations between multiple possibilities. Wang Jianxiao is not restricted to one artistic style or expression method; what she pursues is not only the visual effect, but also a means of emotional expression. Although he has lived in a foreign country for many years, Wang Jianxiao is still deeply influenced by Chinese culture. She often uses language from ancient poetry to name her works. Poetry and painting have been closely related art forms since ancient times. The artistic conception in poetry and the imagery in painting have a symbiotic and growing relationship. In his creative works, Wang Jianxiao often incorporates his understanding and perception of poetry into his paintings. In her own way, she expresses her understanding of water, clouds and flowers in traditional poetry. The fantastic and mysterious atmosphere presented in her works often echoes the aesthetic preferences of Eastern culture since ancient times. From Xie He to Zong Baihua, the Chinese have attached great importance to the "spirit and charm" in paintings since ancient times. The so-called lively and vivid style is actually the free control of the rhythm and beauty of painting. The transformation and overlap of different textures in Wang Jianxiao's works often give people a sense of synaesthesia, like a free and unrestrained variation, using colors as notes and textures as rhythm to construct a smart, mysterious and colorful world. Zhang Mengyang Doctor of Arts; art historian, artist, curator; member of the American Association of Art Historians, member of the American Association of Collegiate Art, member of the Higher Art Education Branch of the National Calligraphy and Painting Association. He is the author of "African American Art between the Two World Wars", "Art History for Children: The Story of Dali", "Twelve Compulsory Courses at Central Saint Martins", "I Can Draw", etc.
...... 王建曉：流光溢彩 文 | 張夢陽 2023年3月 初見王建曉的作品是在一次藝博會上，通過交談得知她畢業於清華大學美術學院的前身中央工藝美術學院，說起來還是我的學姐，自然熟絡不少。對她作品的第一印象是頗具“禪意”，在隱形於色的狀態下，畫面的和諧與美感自然而生。格林伯格曾說：“藝術是要透過其不可縮減和分離的自我表現上達到‘純粹’的特質。在王建曉的作品裡，她毫不掩飾對於平面性與純粹性的偏好。作為一位曾在在日本和美國旅居多年的藝術家，王建曉經歷了中西方文化的碰撞和交融，海外生活的經歷對她的創作產生了深遠的影響，作品也逐漸形成了現在的風格。 在中央工藝美院時王建曉主修漆畫，這為她的藝術創作帶來了不同的靈感和技巧。在日本留學期間她繼續研習漆藝技法，並在此基礎上開始了自己的創新和實踐。也是在這一時期，她的作品中開始出現抽象元素。即便是現在，王建曉的作品中也可以清晰地感受到漆畫創作經歷對她的影響。她擅長表現畫面的質感，不同的肌理效果常常是解讀她各個系列作品的鑰匙。日本留學結束之後，王建曉又赴美旅居多年，這段時間裡她更多地受到抽象表現主義等西方藝術風格的影響，這為她回香港後開始全新的抽象藝術創作奠定了基礎。 在近幾年的作品中，王建曉常常使用畫刀進行創作，這是她創作靈感的重要載體。許多畫面上的肌理效果都是用畫刀做出來的，線條和色塊呈現出強烈的節奏感與動感。這種創作手法其實十分耗時費力，遠不如畫筆來的快意自如。但王建曉更願意使用前者，對於一位60歲的藝術家來說，這份堅持與專注難能可貴。《五十度灰》系列中的效果就是用畫刀堆砌而成，顏料本身的體積感被放大，並最終在不斷重複中形成了獨有的紋理。作品《風清雲淡》最初的創意是王建曉在理髮店翻閱雜誌時產生的，這一系列中王建曉開始使用大面積的白色，相似風格的作品還有《似水流年》。王建曉的抽象繪畫中也會出現一些具象的元素，比如一些花卉的形狀和飛鳥的圖案等。這些元素可能來自於她的夢境、幻想或者生活中的片段，它們在她的作品中被賦予了某種特定的含義，例如《二十四節氣》組畫。這些作品都延展進不同的方向，標誌著王建曉在多重可能性之間的反復調試與探索。王建曉並不拘泥於一種藝術風格和表現手法，她追求的不僅是視覺上的效果，更是一種情感表達的手段。 雖然旅居他國多年，王建曉依舊深刻地受到中國文化的影響。她常用古代詩詞中的語言命名作品。詩與畫自古便是聯繫緊密的藝術形式。詩歌中的意境和繪畫中的意象，是一種共生共長的關係。王建曉在創作中，常常將自己對詩歌的理解和感悟，融入到畫作中。她用自己的方式，表達出對傳統詩歌中水、雲、花的理解，她作品中呈現的奇幻而神秘的氛圍，也常能呼應東方文化自古以來的美學偏好。從謝赫到宗白華，中國人對畫作中“氣韻”的重視自古有之。所謂氣韻生動，其實就是對繪畫節奏與美感的自如把控。王建曉作品中不同肌理間的變換與交疊，常常給人以通感，有如自由奔放的變奏曲，用顏色為音符、肌理做節奏構建出靈動神秘而又流光溢彩的世界。 張夢陽 藝術學博士；藝術史學家、藝術家、策展人；美國藝術史學家協會會員，美國學院藝術協會會員，全國書畫協會高等美術教育分會會員。著有《兩次世界大戰期間的美國非裔美術》、《寫給孩子的藝術史：達利的故事》、《中央聖馬丁的十二堂必修課》、《我會畫畫》等。
Wang Jianxiao's multi-dimensional abstract paintings, a thousand-historical realm Text | Zhang Mengyang October 2023 When I first visited Wang Jianxiao's studio, she showed me her abstract paintings in batches. At first, she leaned them against the wall, but later, when there were too many works to put them in, she simply spread them on the floor. When you first see these works, it is hard to believe that they are from the same painter - although they are all abstract paintings, different series extend in different directions and seem to have no connection. Only after careful exploration can we grasp the clues. Wang Jianxiao's abstract paintings can be roughly divided into several series: the "Color Circle" series with traces of hard-edge painting; the "Fifty Shades of Grey" series composed of color fields and parallel straight lines; a series of works represented by "Like Water Flowing Years" with rich textures and lines on the screen; the "Morning" and "Twenty-Four Solar Terms" series composed of color dots; the flower series that combines abstraction and concreteness, as well as several recent works represented by "Fate". If we regard each of Wang Jianxiao's works as an element, then the core of understanding his creation is not the identity of each element, but the interaction and change between one element and another (or some) elements. Wang Jianxiao lived in the United States for many years, and his creative style was partly influenced by American postmodern art. The "Color Circle" series of works has some characteristics of hard-edge painting - post-painterly abstraction. For example, clear color edges can be seen in the picture, and the colors are basically limited to two or three colors, but the different brightness and purity are distinguished according to the shape of the edge line. But Wang Jianxiao did not adopt the very flat colors of post-painterly abstraction, nor did he abandon brushstrokes to emphasize edges. The deliberate use of smooth surfaces by post-painterly abstract artists such as Frank Philip Stella (1963-), Kenneth Noland (1924-2010) and Ellsworth Kelly (1928-2015) was actually a response to the industrial system at the time. They constructed or simulated a certain production standard by pursuing industrialized surface effects. The "post" in Greenberg's "post-painterly abstraction" is actually intended to subvert the framework established by previous painterly abstraction. In fact, as early as after Benjamin's theory of artistic production, responding to production with production, or "simulating" production in response to production is actually a tone that various art trends are vying to use. Wang Jianxiao retains the formal sense of post-painterly abstraction, but she emphasizes the importance of individual narrative and pays more attention to the position of painting in her works. The texture and lines presented in the "Color Circle" series are the artist's emphasis and persistence on the painting itself. The ups and downs on the picture break the cold feeling of post-painterly abstraction, making the work more vivid. The paint is given a rhythm, spreading outward like ripples along with the circular lines. Straight lines break the balance of the picture, creating changes and conflicts. Before going to the United States, Wang Jianxiao studied lacquer painting at the Central Academy of Fine Arts, and then went to Japan to study lacquer art. Her early study experience has laid the foundation for her passion for hand-made products. This enthusiasm is reflected in her abstract paintings as a persistence in the traces of painting, which is also a clue to interpreting Wang Jianxiao's paintings. In "Clear Wind and Light Clouds", Wang Jianxiao magnified the role of texture. Regular geometric lines are replaced by smooth and casual curves. The very different texture effects unexpectedly achieve harmony in the same picture, giving the work a solidified sense of movement. White pigments are continuously piled up to form "dots" in the picture, winding gully-like textures and various colors constitute the "lines" in the picture, and the lines scraped out with a palette knife on the red and blue background form a unique "surface". Kandinsky believed that when the viewer's eyes are guided by the elements in the picture and move to the right, the effect is "familiarity" and "re-examination", while when moving to the left, it represents "adventure" and "liberation". In Clear Wind and Light Clouds, no matter the audience moves their eyes to the left or right, they will see the alternation and cycle of "points", "lines" and "surfaces", which to some extent represents Wang Jianxiao's creative concept, that is, while trying to innovate abstract forms, he also pays attention to the logic and aesthetic perception of the picture itself. Compared with "Light Clouds and Gentle Breeze", "Red and Blue" was created earlier. Rows of gully-like textures almost occupy the entire picture, and the accumulation of textured paint makes the lines firm and powerful. Red and blue converge and collide in the picture, some merge together, but most still maintain their own properties. The more restrictions there are on the composition of the picture, the more it tests the artist's ability to summarize and control the work. Wang Jianxiao uses only limited colors and lines to present a full and lively picture. The red and blue colors seem to represent the cold and warm currents flowing on the canvas. After a confrontation, they are still evenly matched, and finally condense into an eternal moment on the picture. Similar to the "Color Circle" series, the emphasis on texture in works such as "Clear Wind and Light Clouds" comes from Wang Jianxiao's insistence on painting. The sense of volume created by the accumulation of paint is not only a visual effect, but also an ode to painting itself by the artist. The works in the Fifty Shades of Grey series are all smaller in size, but they are still impressive. In this series, Wang Jianxiao adds a bit of simplicity and restraint, while also triggering thoughts about structure and form. The neatly arranged straight lines are all created with a painting knife, and repeated repetition eventually forms a unique pattern. In many abstract paintings, "accidental" is a very important element and a panacea for the visual effects. But Wang Jianxiao consciously suppressed contingency in this series. She emphasized a sense of order, replaced unconsciousness with rigor, and gave the picture a precise beauty. "Neither Wind nor Rain, nor Clear Sky" can be seen as an extension of the "Fifty Shades of Grey" series. The artist added a circular structure to the underlying color, and this circular structure often appears in works from other series. At the same time, color contrast is added in "Neither Wind nor Rain, Nor Clear Sky", with cold colors and warm colors each occupying half of the space on the screen, forming a wonderful dialogue. The lines in the work are elongated and run through the entire picture. Ernst Cassirer (1874-1945), the founder of the philosophical theory of symbolic form, once used lines to explain the importance of form to art, that is, a line (line segment) can have the triple meaning of emotion, geometry and aesthetics at the same time, and it is only vivid and alive in the "specific atmosphere" of the aesthetic environment. The combination of colors and lines in Neither Wind nor Rain nor Clear skies supports this aesthetic atmosphere. In other words, it is the artist's eyes and hands that give these geometric lines a certain aesthetic form, which enables these elements to acquire the essence of art. Figurative forms are relatively rare in the flower series, but the treatment of texture and lines still bears Wang Jianxiao's personal style characteristics. This series reflects the influence of Chinese culture on Wang Jianxiao. Although he has lived abroad for many years, traditional Chinese art and literature are still one of the spiritual cores of Wang Jianxiao's creation. She often uses language from ancient poetry to name her works. Poetry and painting have been closely related art forms since ancient times. The artistic conception in literature and the imagery in painting have a symbiotic relationship. Wang Jianxiao interprets nature by combining the concrete and abstract, which also echoes the aesthetic preferences of Eastern culture since ancient times. "Fate" represents Wang Jianxiao's new attempt at abstract painting. The contrast and collision between colors are more unrestrained, and the lines are more freehand. When emotions are freed from constraints and enter into pure sensual forms, the artist himself also gains inner freedom, that is, as Cassirer said: "The power of passion itself becomes a constructive force." Abstract painting puts aside the function of art to imitate nature and reality, and also breaks away from the influence of classical art concepts. Although abstract painting constantly emphasizes certain derivative properties, it still has its objects of depiction, which can be emotions, concepts, images or the unconscious itself. The identification of abstract painting objects is as important in their interpretation as the identification of figurative painting objects. For Wang Jianxiao, the objects she paints not only combine her own emotions and thoughts, but also include nature and reality itself. She uses her own painting language and form to create a colorful visual experience, showing her rich inner world. Wang Jianxiao constantly raises and solves questions in a long abstract experiment. She is not restricted to one style or form of expression, but explores various possibilities. Her abstract paintings are a multi-dimensional practice, which constantly gives the works a restrained and profound power. Cassirer's semiotic theory regards art as a form of symbol, and the reason why art can serve as "spiritual energy" or "spiritual action" is that it is a symbolic activity that can integrate formal elements with sensory elements. Through the refined use of basic elements such as color, line and texture, Wang Jianxiao has constructed her own visual symbol system and presented her unique interpretation of abstract painting to people. Zhang Mengyang Doctor of Arts; art historian, artist, curator; member of the American Association of Art Historians, member of the American Association of Collegiate Art, member of the Higher Art Education Branch of the National Calligraphy and Painting Association. He is the author of "African American Art between the Two World Wars", "Art History for Children: The Story of Dali", "Twelve Compulsory Courses at Central Saint Martins", "I Can Draw", etc.
...... 王建曉抽象繪畫的多重維度，千尋之境 文|張夢陽 2023年10月 第一次拜訪王建曉工作室時，她將她的抽象畫作一批一批拿出來給我看，一開始將它們倚在牆邊，後來作品多到放不下，就索性鋪在地上。初看到這些作品時，很難相信它們出自同一畫家之手——雖然都是抽象畫，但不同的系列延展進不同的方向，看似並無關聯。只有在細細探究之後，才能抓住其中的線索。王建曉的抽象繪畫大致可以分為幾個系列：有著硬邊繪畫痕跡的《色圈》系列；用色域與平行排列的直線組成的《五十度灰》系列；以《似水流年》為代表、畫面有著豐富肌理與紋路的一系列作品；用色點組成的《早》和《二十四節氣》組畫；抽象與具象結合的花卉系列以及近期創作的以《緣》為代表的幾幅作品。如果將王建曉的每件作品看做一個元素，那麼理解其創作的核心並不是每個元素的同一性，而是一個元素與另外一個（或一些）元素間的交互與變化。 王建曉曾旅居美國多年，創作風格上有一部分受到美國後現代藝術的影響。《色圈》系列作品有著硬邊繪畫——後繪畫性抽象——的一些特點，例如畫面中可以看到截然分明的色彩邊緣，顏色也基本限於兩三種以內，只是根據邊緣線的形狀分出了不同的明度與純度。但王建曉沒有採用後繪畫性抽象那種十分平面化的色彩，也沒有為強調邊緣而放棄筆觸。以法蘭克·斯特拉（Frank Philip Stella 1963—）、肯尼士·諾蘭（Kenneth Noland 1924—2010）和埃斯沃茲·凱利（Ellsworth Kelly 1928—2015）為代表的後繪畫性抽象藝術家刻意使用的光滑畫面其實是對當時工業體系的回應，通過追求工業化的畫面效果來構建或模擬某種製作標準。格林伯格提出“後繪畫性抽象”的“後”實際上就是要顛覆之前繪畫性抽象建立的框架，而其實早在本雅明的藝術生產理論之後，用生產回應生產，或“模擬”生產以回應生產其實是各種藝術潮流爭相使用的一種聲調。王建曉保留了後繪畫性抽象的形式感，但她更強調個性敘述的重要性，也更在意繪畫性在作品中的位置。《色圈》系列呈現出的肌理與紋路就是藝術家對於繪畫性本身的強調與堅持，畫面上的起伏打破了後繪畫性抽象的冰冷感，讓作品更加鮮活。顏料被賦予節奏，與環形的線條一起如漣漪般向外擴散。直線又打破了畫面的平衡，製造出變化與衝突。在赴美旅居之前，王建曉曾在中央工藝美院學習漆畫，之後又到日本研修漆藝，早年求學的經歷已經奠定了她對手工製作的熱誠。這種熱誠在她的抽象繪畫作品中體現為對於繪畫性痕跡的執著，這也是解讀王建曉繪畫的一個線索。 在《風清雲淡》中王建曉放大了肌理的作用。規則的幾何形線條被流暢隨意的曲線所替代，迥異的肌理效果在同一畫面中意外達成了和諧，也賦予作品一種凝固的動感。白色顏料不斷堆疊形成畫面中的“點”，蜿蜒著的溝壑狀肌理與多種顏色構成了畫面中的“線”，紅色與藍色背景上用畫刀刮出的紋路形成了獨特的“面”。康定斯基認為當觀眾的視線被畫面中的元素引導而向右移動時，其效果是“熟悉”與“重新審視”，而向左移動時，則代表“冒險”與“解放”。在《風清雲淡》中，觀眾的視線無論是向左還是向右移動都會看到“點”、“線”、“面”的交替與輪回，這某種程度上代表了王建曉創作的理念，即在嘗試抽象形式創新的同時又注重畫面本身的邏輯性與審美感知。與《雲淡風輕》相比，《紅與藍》的創作時間更早一些，一排排的溝壑狀肌理幾乎佔據了整個畫面，富有質感的顏料堆積使線條變得堅挺有力。紅色與藍色在畫面彙集與對撞，有一些融合在一起，但大部分仍保持著自身的屬性。畫面構成受到的限制越多其實越考驗藝術家歸納與駕馭作品的能力，而王建曉只用有限的顏色與線條便呈現了飽滿而靈動的畫面。紅藍兩種顏色似是代表冷與暖兩股氣流在畫布上流動，一陣交鋒之後仍不相伯仲，最終在畫面上凝結為一個永恆的瞬間。和《色圈》系列相似，《風清雲淡》等作品對肌理的強調來自于王建曉對繪畫性的堅持，顏料堆積而成的體積感並不僅僅是一種視覺效果，也是藝術家對於繪畫本身的頌歌。 《五十度灰》系列的作品都採用了比較小的尺幅，但依然讓人印象深刻。在這一系列中，王建曉多了幾分樸素與克制，同時也引發了關於結構和形式的思考。排列整齊的直線肌理都是用畫刀做出來的，一次次的重複最終形成了獨特的紋路。在許多抽象繪畫中，“偶發”都是十分重要的元素，是畫面效果的萬金油。但王建曉在這一系列中有意識地抑制偶發，她在強調一種秩序感，用嚴謹替代了無意識，使畫面有了精確的美感。《亦無風雨亦無晴》可以看做是《五十度灰》系列的延伸，藝術家在底層顏色中加上了圓形結構，這種圓形結構也時常出現其它系列的作品中。同時，《亦無風雨亦無晴》中加入了顏色的對比，冷色與暖色各占畫面一半的空間，形成一場奇妙的對話。作品中的線條被拉長，貫穿整個畫面。符號形式哲學理論的開創者恩斯特·凱西爾（Ernst Cassirer 1874—1945）曾用線條來解釋形式對於藝術的重要性，即一條線（線段）可以同時具有情緒、幾何和審美的三重意義，而只有在審美環境這一“特定氛圍”中，它才是鮮活和有生命的。《亦無風雨亦無晴》中顏色與線條的組合支撐起了這種審美氛圍，換言之，是藝術家的眼與手賦予了這些幾何線條某種審美形式，才使這些元素獲得了藝術的本質。 在花卉系列中較為少見地出現了具象形式，但在肌理和線條的處理上還是帶有王建曉個人的風格特點。這一系列體現了中國文化對王建曉的影響，雖然旅居國外多年，中國傳統藝術與文學依然是王建曉創作的精神內核之一。她常常用古詩詞中的語言命名作品。詩與畫自古便是聯繫緊密的藝術形式，文學中的意境和繪畫中的意象，是一種共生共長的關係。王建曉用具象與抽象結合的方式詮釋自然，也呼應了東方文化自古以來的美學偏好。《緣》代表了王建曉抽象繪畫的嶄新嘗試，顏色間的對比碰撞更加奔放，線條也更寫意。當情感擺脫了束縛，進入了純粹的感性形式中，藝術家自己也獲得了內在的自由，即如凱西爾所說：“激情的力量本身變成了構造性的力量。” 抽象繪畫擱置了藝術模仿自然與現實的功能，也擺脫了古典藝術觀念的影響。雖然抽象繪畫不斷強調某些派生性的性質，但抽象繪畫依然有其描繪的物件，其物件可以是情感、觀念、意象或是無意識本身等。抽象繪畫物件的確認在其闡釋過程中和具象繪畫物件的確認同等重要。對於王建曉來說，她繪畫的物件不僅結合了自身的情感與思維，也包含了自然與現實本身，她用自己的繪畫語言與形式創造出多彩的視覺體驗，展現了她豐富的內心世界。 王建曉在一場漫長的抽象實驗中不斷提出問題並解決問題。她沒有拘泥於一種風格和表達形式，而是在各種可能性中恣意探索。她的抽象畫是多維度的實踐，也在不斷賦予作品內斂而深刻的力量。凱西爾的符號理論將藝術看做一種符號形式，而藝術之所以能夠作為“精神能量”或“精神作為”，是因為它是能夠把形式性的要素與感性要素綜合起來的符號化活動。通過對顏色、線條與肌理等基本元素的精煉運用，王建曉構建了一套屬於自己的視覺符號體系，也向人們呈現了她對抽象繪畫的獨特詮釋。 張夢陽 藝術學博士；藝術史學家、藝術家、策展人；美國藝術史學家協會會員，美國學院藝術協會會員，全國書畫協會高等美術教育分會會員。著有《兩次世界大戰期間的美國非裔美術》、《寫給孩子的藝術史：達利的故事》、《中央聖馬丁的十二堂必修課》、《我會畫畫》等。
Brocade of Heaven - Wang Jianxiao's New Abstract Paintings Text | Zhang Mengyang October 2024 Less than a year has passed since I last saw Wang Jianxiao’s solo exhibition, and she sent me a batch of new works. Looking at the pictures uploaded on the mobile phone screen, even though I already know about Wang Jianxiao's persistence and high productivity in creation, I can't help but feel amazed. Among her new works, some are continuations of previous content, such as the "Fifty Shades of Grey" series, and there are also new explorations and attempts such as the "Fiber" series and "A Corner of Victoria Park, Hong Kong". It is not difficult to see Wang Jianxiao's distinctive personal style and characteristics in each of his works. In "A Corner of Victoria Park, Hong Kong", Wang Jianxiao used the "picture-in-picture" format for the first time. In one work, multiple dialogues are formed between the abstract and the concrete, the rational and the emotional. The specific images of plants can be clearly seen in the large paintings, while the small paintings use the overlapping forms of circles, straight lines and textures that often appear in her abstract works. Two seemingly unrelated pictures are put together, creating an expected sense of conflict, but the existence of the small painting seems to open up another dimension of space, providing endless possibilities for imagination. This work can be traced back to Wang Jianxiao's previous creations. The figurative content in the large painting is inherited from the "Flowers" series, while the form of the small painting is more like the abstract painting "Color Circle" series. Through the appropriation and dislocation between different paintings, Wang Jianxiao created a new chemical reaction in his previous explorations. If A Corner of Victoria Park, Hong Kong is a new attempt by Wang Jianxiao in terms of form, Gentle Breeze is a continuation of his previous more mature style. The texture is stacked into winding curves, interweaving with the collision of green and purple. The color composition in this series of works creates an emotional atmosphere that is subtle and comforting. The previous work "The Wind is Light and the Clouds are Clear" also had a similar creative idea. Kandinsky attributed creation to the "inner needs" of the subject, that is, no matter how the formal expression in abstract art is ultimately presented, its essence is the same as the spiritual core of the creator. This series of works may be the result of Wang Jianxiao’s expression of his inner spirit. The form and color of the paintings themselves also have meaning because they meet the artist’s own “inner needs”. This also makes the emotional communication between the work and the viewer more direct, without being disturbed by the subject matter. Both “Gentle Breeze” and “Light Wind and Clouds” use texture to create curves, while the “Fiber” series is a stack of straight lines. Wang Jianxiao’s use of straight lines can be traced back to the earlier “Fifty Shades of Grey” series, and new works have also been produced in this series. In contrast, the lines used in the Fiber series are longer, often running through the entire picture, and the texture appears thicker. The changes and possibilities of lines themselves are involved in each of Wang Jianxiao's series. At the same time, she uses multiple visual clues to connect her different series of paintings to form a larger system. Wang Jianxiao often reminds me of African-American artist Alma W. Thomas, who once walked a similar path to Wang Jianxiao. In the 1960s, Thomas focused on her garden series. Although these works are figurative, they already show the embryonic form of her abstract style. Afterwards, she conducted more in-depth explorations in the field of abstraction, and her artistic creation reached another peak. Many of Wang Jianxiao's previous works focused on floral themes, and in this batch of works, her use of color and texture laid the visual foundation for her subsequent abstract works. Both female artists started with an interest in nature and developed into an exploration of the form of painting itself. They insisted on using vibrant colors and simple geometric shapes as the main elements of the picture to show the artist's inner spirit and emotions. Postmodernism emphasizes reflection and deconstruction of the existing order, especially female artists, who use art as a medium to express their profound thoughts on female identity, history and social status. Although Wang Jianxiao's works do not directly involve gender issues, her works contain a reflection on the tension between tradition and contemporary times. This reflection is related to her having lived abroad for many years and being influenced by both Eastern and Western art, and perhaps also to her identity as a female artist. Regarding this year's creative experience, Wang Jianxiao mentioned that "although the picture presents the craftsmanship of painting, it still focuses on the pursuit of 'voice beyond the picture.'" This "voice beyond the picture" can be understood as the "spiritual charm" often mentioned in Chinese painting. It is the spiritual feeling that transcends the picture itself that the artist conveys through his work. The so-called "lively and vivid" actually means connecting personal emotions with the presentation of the picture with ease. Although Wang Jianxiao's works involve a lot of textures and cannot emphasize the "spirit" and "wonder" of a moment like ink paintings, she effortlessly interprets a long and complex process smoothly and vividly. This is related to Wang Jianxiao's many years of practice in traditional Chinese ink painting and lacquer painting, and also constitutes the spiritual foundation of her works. The texture and brushstrokes of Wang Jianxiao's works embody the "freehand" spirit of literati painting. In her own words, "I paint abstract contemporary oil paintings - the brush and ink change with the times, and the spirit is the 'writing' of literati painting, which cultivates temperament and expresses emotions." The techniques in Chinese painting are not just a reproduction of reality, but a display of the harmonious unity of nature and soul through brush and ink. I think this is also the artistic conception that Wang Jianxiao pursues. Zhang Mengyang Art historian, artist, curator; PhD and postdoctoral fellow in art theory at Tsinghua University; visiting professor at the School of Art of Guangdong University of Foreign Studies; member of the Chinese Artists Association, the American Association of Art Historians, the American Association of Collegiate Art, and the Higher Art Education Branch of the National Calligraphy and Painting Association. He is the author of "African American Art between the Two World Wars", "Art History for Children: The Story of Dali", "Twelve Compulsory Courses at Central Saint Martins", "I Can Draw", etc
...... 雲錦天章——觀王建曉抽象繪畫新作 文|張夢陽 2024年10月 距離上次看王建曉的個展剛過去不到一年，她又發送了一批全新的作品給我。看著手機螢幕上傳來的一張張圖片，即便對王建曉創作的執著與高產已有所瞭解，也不免覺得驚歎。在她的新作中，有一些延續了之前的內容，例如《五十度灰》系列，也有像《纖維》系列和《香港維園一隅》這樣全新的探索與嘗試。而在每一件作品中都不難看出王建曉鮮明的個人風格與特質。 在《香港維園一隅》中，王建曉首次使用了“畫中畫”的形式。在一件作品中形成了抽象與具象、理智與情感的多重對話。在大畫面中能清晰看到植物的具體形象，而小畫中則採用了她抽象作品常出現的圓形、直線與肌理相互疊加的形式。兩個看似不相關聯的畫面被放在一起，有著意料內的衝突感，但小畫的存在像是打開了另一個維度的空間，為想像提供了無限的可能。這件作品可以追溯至王建曉之前的創作。大畫面中的具象內容承接自“花卉”系列，而小畫的形式更像是抽象畫《色圈》系列。通過不同畫作間的挪用與錯位，王建曉讓之前的探索有了新的化學反應。 如果說《香港維園一隅》在形式上是王建曉的一次全新嘗試，《惠風和暢》則是之前較為成熟的風格的延續。肌理被堆砌成一條條蜿蜒的曲線，期間交織著綠色與紫色的對撞。這一系列作品中的色彩構成營造了一種情感氛圍，含蓄並讓人感到舒適。之前的《風輕雲淡》也是類似的創作思路。康定斯基將創作歸結為主體的“內在需要”，即抽象藝術中的形式表達無論最終如何呈現，其根本都是與創作者的精神內核同質的。這一系列作品或許就源于王建曉內在精神的表達，畫面的形式與色彩本身也因契合了藝術家自身的“內在需要”而有了意義。這也使得作品與觀者的情感溝通更為直接，不必受題材的干擾。《惠風和暢》與《風輕雲淡》都是用肌理做成了曲線，而《纖維》系列則是直線的堆疊。王建曉使用直線可以追溯到更早的《五十度灰》系列，此系列也有新作產生。相比之下，《纖維》系列所使用的線條更長，常常貫穿整個畫面，肌理顯得更厚重。線條本身的變化與可能性在王建曉的各個系列中都有涉及。同時，她通過使用多重視覺線索將自己不同系列的繪畫串連起來，形成一個更為龐大的體系。 王建曉常讓我聯想到非裔美國藝術家阿爾瑪·湯瑪斯（Alma W. Thomas）,後者曾走過的路徑與王建曉相似。在20世紀60年代，湯瑪斯專注於她的花園系列，這批作品雖然屬於具象範疇，但已經能看出她抽象風格的雛形。之後她在抽象領域進行更深入的探索，藝術創作也隨之迎來又一次高峰。王建曉之前的作品中也有很多集中在花卉題材，而在這批作品裡，她對色彩和肌理的運用也為之後的抽象作品奠定了視覺基礎。兩位女性藝術家都是從對自然的興趣出發，發展至對繪畫本身的形式探索，並且堅持用富有活力的色彩與簡潔的幾何形狀作為畫面的主要元素，以此展現藝術家的內在精神與情感。後現代主義強調對既有秩序的反思與解構，尤其是女性藝術家們，以藝術為媒介，表達了她們對女性身份、歷史和社會地位的深刻思考。王建曉的創作雖然沒有直接的性別議題，但她的作品中隱含著一種對傳統與當代之間張力的思考，這種思考與她曾旅居海外多年、同時受到東西方藝術的影響有關，也或許與她女性藝術家的身份有關。 關於今年的創作體會，王建曉提到“雖然畫面呈現出繪畫的工藝性，但仍然著重於‘畫外之音’的追求。”這種“畫外之音”可以理解為中國繪畫中常提及的“氣韻”，它是藝術家通過作品傳遞出的超越畫面本身的精神感受。所謂“氣韻生動”，其實就是遊刃有餘地將個人情感與畫面呈現連接起來。雖然王建曉的作品中鋪設了大量的肌理，無法像水墨畫一樣講求一瞬間的“神”與“妙”，但她舉重若輕地將一個漫長而複雜的過程演繹得流暢而生動。這與王建曉多年的中國傳統水墨畫與漆畫實踐有關，也構成了她作品中的精神底蘊。王建曉的作品肌理和筆觸中隱含著文人畫中的“寫意”精神。用她自己的話說，即“畫的是抽象當代油畫——筆墨隨時代，精神是文人畫的‘寫’，陶冶性情、寄託情感。” 中國畫中的技法不僅僅是對現實的再現，而是通過筆墨展現自然與心靈的和諧統一。我想，這也是王建曉所追求的意境。 張夢陽 藝術史學家、藝術家、策展人；清華大學藝術學理論博士、博士後；廣東外語外貿大學藝術學院客座教授；中國美術家協會會員，美國藝術史學家協會會員，美國學院藝術協會會員，全國書畫協會高等美術教育分會會員。著有《兩次世界大戰期間的美國非裔美術》、《寫給孩子的藝術史：達利的故事》、《中央聖馬丁的十二堂必修課》、《我會畫畫》等。
Wang Jianxiao's decorative beauty Text | Yixing 2024-10-31 Hong Kong's contemporary visual arts are like the Eight Immortals crossing the sea, each showing its magical power. Wang Jianxiao worked alone, taking great effort and time to carve with a scraper, making multiple adjustments and showing precious perseverance, to create his own unique pattern format of oil painting decorative beauty! The patterns are new and elegant, yet profound and ancient. Wang Jianxiao's art is mainly oil painting on canvas, and sometimes he uses acrylic paint as the base color and a scraper to express decorative images. (Hong Kong Artists Association) Wang Jianxiao's art is mainly oil painting on canvas, and sometimes he uses acrylic paint as the base color and a scraper to express decorative pictures. (Hong Kong Artists Association) I haven't visited the Ink Art Fair for two years. In 2014, I was able to attend the lively joint exhibition of the Modern Ink Painting Society because I am a member of the society. Wang Jianxiao was arranged by the gallery to use the idiom "Cloud Brocade Heavenly Chapter" as the title, which is very suitable for her exhibits. This idiom is usually used to describe brilliant literary style, as elegant as brocade woven by fairies with clouds. At this moment, I think of Jinling Yunjin, one of the three famous brocades in my country. Yunjin is the cultural symbol of Nanjing. It is gorgeous and brilliant like clouds. It has been a tribute to the emperors of all dynasties and used for royal clothing. The eye-catching non-woven creation is an oil painting by Hong Kong female painter Wang Jianxiao. Her works are both national and contemporary, with roots in traditional culture and expression in contemporary time and space. Smart hands and clear minds express artistic language After the Cultural Revolution, she went to the countryside to work and spent ten years there. When they are able to return to the city to take the college entrance examination, all candidates will be admitted through a crash course. She was admitted to the Sichuan Fine Arts Institute's Crafts Department for a one-year accelerated program, and the Tsinghua Academy of Fine Arts (formerly the Central Academy of Arts and Crafts)'s Special Arts Department, also for a one-year accelerated program. She then went to Kanazawa University of Art in Japan (which has an excellent reputation) to study lacquer painting for two years! The three-stage study process was like a race against time to complete her four-year art studies. After that, he lived in the United States for many years and continued to engage in artistic work. It can be said that he integrates Chinese and Western cultures. His works have been exhibited in international art exhibitions in different regions, including China, South Korea, Japan, the United States, Taiwan... Collectors come from all over the world. She currently resides in the Pearl of the Orient - Hong Kong. Wang Jianxiao's art is mainly oil painting on canvas, and sometimes he uses acrylic paint as the base color and a scraper to express decorative images. Starting from her inner subjective consciousness, she creates undulating, hard and soft overlapping lines, color blocks and textures, laying out a unique structure that interacts on the plane, expressing her artistic language with her wisdom and heart. The following are several examples of different types of rhythmic decorative beauty contexts: "Clear Wind and Light Clouds" from 2021, 70x70cm. Monet said: "I want to paint in the way birds sing." Jianxiao is like a bird happily flying and controlling the painting knife. No matter what the trend is, it erases the sadness of the years and leaves behind a soft beauty. The texture is light and elegant, with grooves carved out between color changes. Gradient hue stripes meandering. White dots of varying sizes are piled up in the middle, forming a surface that looks like floating clouds and water. The gray-blue background is inlaid with fine lines, and two warm colors from light yellow to light orange make the image more warm. In the sweet dream, the light white clouds bring sweet words in the breeze. Rhythmic decorative beauty context "Fate", 2023, 150cm, classic lacquer painting style, circular composition. According to Jianxiao's explanation: Western art gives full play to the creativity of the mind, has few fixed forms, and emphasizes the freedom within nature. Traditional Oriental people use physical practice and physical action to gain enlightenment. When they encounter enemies or obstacles, they have the wisdom to overcome hardness with softness and the power of Tai Chi to make roundabout and continuous progress. No matter how hard you try, you still need the help of the power of fate to rush forward. The author's impression of this painting is that the circle represents perfection, the red is passionate and unrestrained, and the deep rose red, eggplant purple, peacock blue and white, the red represents the energy of fate. People are often bound by desires and temptations, which cause things to arise and disappear. The image involves the height of the imprint, dismantling the reality of impermanence and attempting to change the negative collision. Asking in a subtle tone: There is endless fate in life, there is no distinction between you and me, the sound of the wind flute moves the red drum, and the gathering of fate dances together to create the world! The work "Qisejia". (Provided by the author) The work "Qisejia". (Provided by the author) The rich and colorful "Qisejia", 50x50cm, is a work by Wang Jianxiao in 2024. Wassily Kandinsky believed that "in a work of art, the most important thing is the pleasing arrangement of form, line and color, which exists for no other purpose than aesthetic experience." Kandinsky was an explorer who was keen on color and form. Wang Jianxiao combines the abstract modernity of the East and the West with his passion for imagination, life experience and learning. Perhaps Kandinsky's pursuit is presented in Jianxiao's freely controlled variations. The scene in "Qisejia" is full of spring, "layers of new green on the branches, accompanied by patches of drunken red." Strong contrasting colors and intermediate colors create interest. "The plump and long branches are covered with green leaves, and the red flowers are hidden by the wind. The wind emits a faint sound, and the fragrance enters the purple clouds." It is full of poetic and picturesque meaning, suggesting the life force of all things to flourish. The 2024 work "Fiber Series", 30x30cm, has green as the main color tone, crisscrossing lines, and clusters of dots that gather and disperse. Fibers are brewing another philosophy, suggesting that no matter how big or small the world is, they are equal and indispensable factors in the all-encompassing nature! From a scientific observation point of view: fiber generally refers to filaments of varying lengths and discontinuities, which play an extraordinary role in the survival of animals, plants and humans. Through the superposition of lines, one can vaguely hear a profound voice beyond the painting. The real function of art is to edit images. No matter whether it is craftsmanship or realism, meticulous or freehand, it is all about the observability of design beauty. And usually the theme of the creation is indicated. But viewers should not limit themselves to the title, they must steal the soul of the painting through vision!
...... 王建曉慧手明心的裝飾美 文 | 益行 2024-10-31 本港當代視覺藝術，如八仙過海，各顯神通。王建曉踽踽獨行，耗時費力用刮刀精雕細鑿，多重的調試，難能可貴的毅力，獨創其圖案格式的油畫裝飾美！紋樣新頴，卻淵懿古茂。 王建曉的藝術以布面油畫為主，有時亦會取丙稀顏料作底色，運用刮刀表達裝飾性的畫面。（香港美協）王建曉的藝術以布面油畫為主，有時亦會取丙稀顏料作底色，運用刮刀表達裝飾性的畫面。（香港美協） 水墨藝博已有兩年未有觀看，2014年因筆者屬於現代水墨畫會會員，才湊合畫會熱鬧的聯展。王建曉由畫廊安排採用了成語「雲錦天章」為標題，此名牌和她的展品極之脗合，這通常形容斐然的文釆，高雅若仙女用雲彩編織的錦緞。此刻想到我國三大名錦之一的金陵雲錦，雲錦是南京的文化符號，絢麗華美，光彩如霞，乃歷代御用貢品，供皇家服飾之用。眼前吸睛的非織物創作，是本港女畫家王建曉的油畫，她既具民族性又具當代性，傳統文化的根脈，置身當代時空的表達。 慧手明心 傾訴藝術語言 一場文化大革命後，她上山下鄉，度過十年芳華。當可以返城參加高考，考生錄取均是速成班。她曾考入四川美術學院工藝系一年速成，清華美院（原中央工藝美術學院）特藝系，也是一年速成，再赴日本金澤美術工藝大學（此校聲譽甚為優秀）兩年留日研修漆畫！三段式的求學進程，簡直在與時間賽跑，完成她共4年的美術學業。此後旅居美國多年，繼續從事藝術工作。可謂中西文化融為貫通，作品曾在不同地區的國際藝術展亮相，包括中國、南韓、日本、美國、台灣⋯⋯收藏家來自世界各地。她目前定居在東方之珠──香港。 王建曉的藝術以布面油畫為主，有時亦會取丙稀顏料作底色，運用刮刀表達裝飾性的畫面。她從內心的主觀意識出發，起伏剛柔軟疊交的線條、色塊、肌理，鋪陣那別緻的結構，於平面中互動，慧手明心傾訴其藝術語言。 以下例舉數幅不同類型，律動的裝飾美語境： 2021年的《風清雲淡》，70x70cm，莫奈說：「我想用鳥兒在唱歌的方式畫畫」，建曉是小鳥開心地旋飛調度畫刀，無論什麼趨向，抹去歲月的憂傷，留下柔和的美好。質感淡然清雅，轉色間刻出溝壑。漸變的色相條狀蜿蜓。中間堆積大小不一的白點，以點成面若雲水浮蕩。灰籃底色鑲嵌細紋肌理，加上兩條由淡黃至淺橙的暖色，使圖像更添温馨。甜夢中輕淡的白雲飄來清風情話。 律動的裝飾美語境 2023年的《緣》，150cm，經典的漆畫風格、圓形構圖。根據建曉解釋：西方的藝術發揮心靈的創作，少有固定的形式，講究天性裏的自由。傳統東方人以身體實踐、以力行啟悟，遇敵逢阻，有以柔克剛的智慧，有太極迂迴接推的力量。再怎麼用力，横衝直撞也需要緣分的神力來相助。此畫給筆者的觀感，圓形彰顯美滿，紅色熱情奔放，深玫瑰紅、茄子紫、孔雀藍、白色，紅色代表緣的能量。人往往被慾望、誘惑羈絆，使之緣起緣滅。圖像內牽繋着印記的高低，拆解了無常的實相，企求改變負面的碰撞。以含蓄的口吻追問：人生一世緣無盡，形態不分你我他，風蕭聲動紅鼓轉，聚緣共舞釀乾坤！ 作品《綺色佳》。（作者提供）作品《綺色佳》。（作者提供） 濃艷的《綺色佳》，50x50cm，是王建曉2024年的作品。康定斯基（Wassily Kandinsky）認為：「在一件作品中，最重要的是形式，線條和色彩的悦目安排，其存在除了審美體體驗，別無其他目的。」康定斯基是位熱衷色彩和形式存在的探索者。 王建曉以思覺想像的熱情，人生的經歷及學養，融合了東西方抽象的現代性。也許康定斯基的追索，在建曉掌控自如的變奏中呈現。《綺色佳》中的的畫面，春意盎然，「枝間新綠一重重，伴隨醉紅一片片」。強烈的對比色、間色相咉成趣。「豐翹被長條，綠葉蔽朱花，因風吐微音，芳氣入紫霞」⋯⋯充滿詩情畫意，暗示了萬物向榮的生命力量。 2024年的作品《纖維系列》，30x30cm，基本色調以綠為主，縱橫斜交錯的線條，聚散疏密的點簇。纖維醞釀着另一番哲理，暗示天地間不論巨大或纖小，在包羅萬象的大自然中，是平等而不可缺少的因子！用科學觀察而論：纖维一般指斷續不等、長短不齊的细絲，對動植物和人類的生存，具有不凡的作用。以線條的疊加，恍惚聽到幽奧的畫外之音。藝術的真正功能是編輯意象，不管是工藝性還是寫真性，工筆或寫意，均是設計美的可觀性。並且通常標出創作主題。但觀賞者切勿局限在標題上，必須憑視覺竊取畫中靈魂！
Ritz-Carlton Art Space Exhibition Wang Jianxiao: Brilliant Light Writer | Rica Art Rica Art 10.3.2023@Hong Kong, China The space is pleased to present artist Wang Jianxiao’s solo exhibition “Colorful Lights”, which will run from March 17, 2023 to April 16, 2023. Wang Jianxiao graduated from the Decorative Painting Department of the Central Academy of Fine Arts. He studied at Kanazawa University of Art in Japan. After graduation, he lived in the United States for many years. He currently lives and works in Hong Kong, China. In her works in recent years, Wang Jianxiao often uses a palette knife, which is an important carrier of her creative inspiration. Many of the texture effects on the canvas are created with a palette knife, with the lines and blocks of color presenting a strong sense of rhythm and movement. This creative method is actually very time-consuming and laborious, and is far less enjoyable and free than using a brush. But Wang Jianxiao prefers to use the former. For an artist who is nearly 70 years old, such persistence and concentration are invaluable. The effect in the "Fifty Shades of Grey" series is created by piling up paint with a palette knife. The volume of the paint itself is magnified, and ultimately a unique texture is formed through constant repetition. The initial idea for the work "Clear Wind and Light Clouds" came to Wang Jianxiao when he was flipping through a magazine in a barber shop. In this series, Wang Jianxiao began to use large areas of white. Other works with similar styles include "Time Flows Like Water". Some concrete elements also appear in Wang Jianxiao's abstract paintings, such as flower shapes and flying bird patterns. These elements may come from her dreams, fantasies or fragments of life, and they are given certain specific meanings in her works, such as the "Twenty-Four Solar Terms" series of paintings. These works extend into different directions, marking Wang Jianxiao's repeated adjustments and explorations between multiple possibilities. Wang Jianxiao is not restricted to one artistic style or expression method; what she pursues is not only the visual effect, but also a means of emotional expression. picture “50 Shades of Grey 4”, 2021, acrylic on canvas, 30x30cm picture "Time Flows Like Water" 2018, Oil on canvas, 80X100 cm picture "Grain Fullness of the Twenty-Four Solar Terms" 2021, Oil on canvas, 30X30 cm Although he has lived in a foreign country for many years, Wang Jianxiao is still deeply influenced by Chinese culture. She often uses language from ancient poetry to name her works. Poetry and painting have been closely related art forms since ancient times. The artistic conception in poetry and the imagery in painting have a symbiotic and growing relationship. In his creative works, Wang Jianxiao often incorporates his understanding and perception of poetry into his paintings. In her own way, she expresses her understanding of water, clouds and flowers in traditional poetry. The fantastic and mysterious atmosphere presented in her works often echoes the aesthetic preferences of Eastern culture since ancient times. From Xie He to Zong Baihua, the Chinese have attached great importance to the "spirit and charm" in paintings since ancient times. The so-called lively and vivid style is actually the free control of the rhythm and beauty of painting. The transformation and overlap of different textures in Wang Jianxiao's works often give people a sense of synaesthesia, like a free and unrestrained variation, using colors as notes and textures as rhythm to construct a smart, mysterious and colorful world. picture “Neither Wind nor Rain, Neither Clear nor Cloudy”, 2022, Acrylic on Paper, 33x33cm picture "Fate" , 2021, Ink and acrylic on paper , 33X33 cm
...... 麗嘉藝術空間展覽 王建曉：流光溢彩 Writer | Rica Art Rica Art 10.3.2023@中國香港 空間欣然呈現藝術家王建曉的個人展覽《流光溢彩》，展期自2023年3月17日起至2023年4月16日。王建曉畢業於中央工藝美術學院裝飾繪畫專業，曾於日本金澤美術工藝大學進修，學成後旅居美國多年，目前生活和工作於中國香港。 在近幾年的作品中，王建曉常常使用畫刀進行創作，這是她創作靈感的重要載體。許多畫面上的肌理效果都是用畫刀做出來的，線條和色塊呈現出強烈的節奏感與動感。這種創作手法其實十分耗時費力，遠不如畫筆來的快意自如。但王建曉更願意使用前者，對於一位年近70的藝術家來說，這份堅持與專注難能可貴。《五十度灰》系列中的效果就是用畫刀堆砌而成，顏料本身的體積感被放大，並最終在不斷重複中形成了獨有的紋理。作品《風清雲淡》最初的創意是王建曉在理髮店翻閱雜誌時產生的，這一系列中王建曉開始使用大面積的白色，相似風格的作品還有《似水流年》。王建曉的抽象繪畫中也會出現一些具象的元素，比如一些花卉的形狀和飛鳥的圖案等。這些元素可能來自於她的夢境、幻想或者生活中的片段，它們在她的作品中被賦予了某種特定的含義，例如《二十四節氣》組畫。這些作品都延展進不同的方向，標誌著王建曉在多重可能性之間的反復調試與探索。王建曉並不拘泥於一種藝術風格和表現手法，她追求的不僅是視覺上的效果，更是一種情感表達的手段。 圖片 《50度灰4》 2021年 布面丙烯油畫 30X30釐米 圖片 《似水流年》 2018年 布面油畫 80X100釐米 圖片 《二十四節氣之小滿》 2021年 布面油畫 30X30釐米 雖然旅居他國多年，王建曉依舊深刻地受到中國文化的影響。她常用古代詩詞中的語言命名作品。詩與畫自古便是聯繫緊密的藝術形式。詩歌中的意境和繪畫中的意象，是一種共生共長的關係。王建曉在創作中，常常將自己對詩歌的理解和感悟，融入到畫作中。她用自己的方式，表達出對傳統詩歌中水、雲、花的理解，她作品中呈現的奇幻而神秘的氛圍，也常能呼應東方文化自古以來的美學偏好。從謝赫到宗白華，中國人對畫作中“氣韻”的重視自古有之。所謂氣韻生動，其實就是對繪畫節奏與美感的自如把控。王建曉作品中不同肌理間的變換與交疊，常常給人以通感，有如自由奔放的變奏曲，用顏色為音符、肌理做節奏構建出靈動神秘而又流光溢彩的世界。 圖片 《亦無風雨亦無晴》 2022年 紙面丙烯油畫 33X33釐米 圖片 《緣》 2021年 紙面水墨丙烯油畫 33X33釐米