杨画廊微信号：Galleryyang
张慧作品┃ZHANG HUI
张慧/日光/2010/绘画装置/240X720cm
Zhang Hui/Daylight/2010 /
Painting Installation/240X720cm
张慧/素材/2012 /纸面丙烯/56X106cm
Zhang Hui/Material/2012/
Acrylic on Paper/56X106cm
张慧/壁画/2010/布面丙烯/180X120cm
Zhang Hui/Mural/2010/Acrylic on Canvas/180X120cm
在张慧看来，视觉经验不仅仅是美术的经验，而是被视觉“训练过”的经验，它常常给人思考以暗示，进而左右着人们观看世界。他试图在绘画中尽可能地去检讨这种假设前提下的经验，检讨这种暗示与被暗示的关系。那么，他的思考就是，什么决定了视觉经验？——推导出两个有递进关系的问题，“怎么干决定干什么”和“怎么看”：前者的重点在问“你有何种认知思维？”；张慧的绘画既不是看见什么画什么，更不是靠技术来弥补、修饰“看”在智性层面上的缺陷，而是关注如何去“看”这个世界，追求“看”的境界。所有的文化现实、所有的知识积累、知识储备经过提炼、筛选后才决定每个作者看世界的方法。掌握了这样的语言，才能决定做什么。推进这两个问题，个人在社会中的现实存在、带有个人角度发现的现实，也就变成了作品。
Zhang Hui searches for the space where reality and the subconscious, the normal and the abnormal interact. In his recent work, Zhang continues his performative exploration of duration and its relationship to ideas of time and space through an investigation of painting.Zhang's subjects move from the rituals of banality which are anchored in everyday life, to the quest for dreaming – two primary components of this artist’s evocative dramas. His gestural surfaces scale the human on a spiritual and psychological level, employing elements of the the atrical (through colorand scale) to create a dreamscape where by his subject’s vulnerability is exposed to the viewer, often triggered by lines of text, seemingly borrowed from traditional fairytales and folkloric narratives, floating amid the landscape.
徐小国作品┃XU XIAOGUO
徐小国/球笼/2013/布面油画/250X290cm
Xu Xiaoguo/Ball and Cage/
2013/Oil on Canvas/250X290cm
徐小国/笼子彩球2/2013/纸上水彩/30X30cm
Xu Xiaoguo/
The Cage and the Colorsphere 2/
2013/Watercolor on Paper/30X30cm
圆和圆型在传统绘画中是两个不同的概念，分别代表了图形和体积，把两种不同的属性揉捏起来于是在绘画的过程中出现了自由的感觉，和之前大笼子系列不同的是多个圆形单元把线面编织的主体性变成了负形空间，但没有消减它的力量，两者呈现了正形和负性的对抗关系。
In traditional painting, circle and circular form are two different concepts, standing for figure and body respectively. By blending these two properties, a sense of freedom emerges in the process of painting. Compared to the earlier Big Cage series, this work has a distinct feature: the subjectivity weaved out of lines and planes has been transformed by many circular units into a negative space, its strength intact. They present the confrontational relation of the positive and negative spaces
向庆华作品┃XIANG QINGHUA
向庆华/赞美/2014/
布面油画木外框上色/165.5X137.3cm
Xiang Qinghua/Glass/2014/
Oil on Canvas and Frame/165.5X137.3cm
赞美
1 经典题材所提供的固定范式，固定符号内容与绘画方式。
2 画面下方伸出的“桌面”是 对画面上方延伸进去“天花板”的临摹； 左边重色“隔板”是对右边亮色隔板的重色投影的临摹，两个天使互为镜像。
3高脚果盘与下方桌面和后方水果的空间次序混乱，也许只是桌面后方放置的一幅画。
4 在木质外框上再临摹画面内的内容，空间延伸出画外，或者说画框本身也成为画面构图的一部分。
Eulogization
1.Regular paradigms, symbols and painting methods are employed.
2.The extending "table board"on the lower part is a replica of the intruding "ceiling" on the upper part. The dark "clapboard" in the left is a replica of the dark shadow of the bright clapboard in the right. The two angels are mirror images for each other.
3.The compote lies in a confuse dspatial relation to the table board on the lower part and the fruits at the back. It might be just a painting laid at the back of the table board.
4.The contents of the picture are replicated on the wooden frame. The space extends to the outside, or the frame itself forms a part of the composition.
向庆华/玻璃/2014/布面油画/150X120cm
Xiang Qinghua/Eulogization/2014/
Oil on Canvas/150X120cm
玻璃
1农村题材的内容和形式范式。
2横贯人物腿部的蓝色色条提示玻璃门，人物脚下方的蓝色色条与地面条纹的排列形式吻合，无法判断它是玻璃上的色条还是地板的条纹。
3因为背景树叶的关系，红色圆平面会被看做树上的果实。
4人物，树叶，果实之间的关系更像是层层平面覆盖的关系而非现实空间中的物与物的遮挡关系。
Glass
1.Substantial and formal paradigms of rural subject matter are employed.
2.The blue stripes traversing the legs hint at glass door. The blue stripes under the feet fit the form of the strips on the ground, so much so that one cannot assert whether it is on the glass or on the ground.
3.Against the background of leafs, the red round planes might be seen as the fruits in the tree.
4.The relations of figures, leafs and fruits seem to be rather that of surfaces covering one after another, than that of objects blocking far ones in reality.
陶大珉作品┃TAO DAMIN
密室/ 2013 /布面丙烯/ 320x120cm
Secret Room / 2013 /
Acrylic on Canvas/320x120cm
陶大珉/隐秘屋3/2014 /布面丙烯/ 90×120cm
Tao Damin/ Secret room 3 /2014 /
Acrylic on Canvas/90×120cm
陶大珉/隐秘屋1/2014 /布面丙烯/90×120cm
Tao Damin/Secret room 1 /2014 /
Acrylic on Canvas/90×120cm
隐秘屋
《隐秘屋》表现的是空无一人的私密房间，人远离了，或是被驱逐出来。书房或是卧室的场景，室内家具、橱柜、箱子、床榻等日常物品，这些与人最为接近的空间和物体，以离奇和荒诞的关系出现，它们被抽离出来，或是呈现在另外的空间结构内，成为一种标本和展示，等待着人们的回归，来观察和审看。在封闭或开阖的空间内部，藏匿着个人的，隐秘的、未知的状态，隐匿、潜藏着某种不可名状的剧情和关联，有点语焉不详，应该说是某种向内的情绪。
Sectet Room
On the canvas of Secret Room is aprivate room whose masters, having leaved or been driven away, is not present.It is a scene of a study or a bedroom. Ordinary particles, such as furniture,cupboards, trunks and beds, constitute most familiar objects and spaces to men.Now they appear in uncanny and absurd relations to each other: isolated, or displaced in strange spots, as specimens and exhibitions, waiting for men's return, observation and examination. There are something hidden in the open or closed spaces - personal, secret and unknown states, or plots and correlations beyond description. They are a little bit equivocal and reflect some introvert moods.
简策作品┃JIAN CE
简策/孕妇/2010 /布面油画和丙烯/120X90cm
Jian Ce/La Gravida/2010 /
Mixed Media on Canvas/120X90cm
孕妇
也是根据拉斐尔的一幅女人像画的，原名就叫La Gravida（意大利语的孕妇，1506画的）。简策对她身体的抽象形状感兴趣。拉斐尔人物经常是用非常抽象的图形构成的，完全脱离了人体写实。整个人显得很安静，柔软，画的光线对比又很特殊。孕妇的身体正在变形，会圆起来，而整个人物的衣服，发型和脸型都在反映这种变大，变圆的趋向。
La Gravida
It is also a reference to a portrait by Raphael. It is a portrait of a woman, titled La Gravida ("pregnant woman" in Italian, 1506). The abstract contour of her body interested Jian Ce. The figures of Raphael are often formed by very abstract shapes, regardless of the reality of human body. She looks quiet and soft, while the contrast of light is very special. Her body seems transforming rounder, and her attire, haircut and shape of face all contribute to this tendency of getting bigger and rounder.
简策/A-D /2012 / 材质:布面油画和丙烯/60X50cmX4
Jian Ce/A-D /2012 /
Mixed Media on Canvas/ 60X50cmX4
Ａ－Ｄ
四幅画"A/B/C/D" 的颜色是根据三个基本色彩（蓝/红/黄）和它们三个混合色彩（紫/橘黄/绿）轮着拼起来的，排完了三种颜色剩下的第四幅只能是黑白。中间的头像是意大利文艺复兴的创始人Alberti ，在他著名的画论里他第一次向艺术家解释透视的道理，并教他们应用方法。他的视觉理论说我们所看到的是眼睛发出去的“视觉线”，投射在外界而送回眼睛的信息。
A – D
The coloring of this 4 pictures,A/B/C/D, is determined by parings of three primary colors (blue/red/yellow) and their three composite colors (purple/orange/green). After the first three pictures, the only possibility for the 4th picture is black and white. The portrait in the middle represents a important figure of Italian Renascence,Alberti, in whose famous essay on painting he explained the principle of perspective for the first time and taught artists how to apply it. His visual theory argues that what we see is information carried on the "visuallines" emitted by our eyes and reflected back by the outer world.
简策/左上角/2012 /布面油画和丙烯/150X120cm
Jian Ce/Upper Left Corner/2012 /
Mixed Media on Canvas/150X120cm
左上角
这幅画是根据拉斐尔的一幅红衣主教肖像画的（名叫Tommaso Inghirami，大约1510年) 。他的眼睛有毛病，所以真人长得很怪，但画家把他向上翻的眼神变成了一种超越现实，像圣人一样能看到上帝的精神 (spiritual transcendence)。看的方向就是左上角，而 “左上角” 有德国画家 Sigmar Polke 的典故：他一个最有名的早期作品就叫 “上天指示：把左上角涂黑” (中文翻译"上天"可能不准，意思是"higher creatures")。Polke在讽刺绘画，尤其是抽象画，因为它的形成常被看成来自于一些神秘动机和无法解释的灵感。
Upper-left Corner
It is a reference to a portrait of a cardinal(Tommaso Inghirami, circa 1510) by Raphael. The cardinal had a history of eye illness and looked strange, but the painter transforms his up-looking gaze into a sort of spiritual transcendence, the direction of which is upper left. There is another story about "Upper-left Corner". The most famous earlywork of German painter Sigmar Polke is titled "Higher Beings Command:Paint the Lift Upper Corner Black!". It contains sarcasm about painting,especially abstract painting, since their formations are often conceived as originated from some mysterious motives and in explicable inspiration.
邓猗夫作品┃DENG YIFU
邓猗夫/贝克特/2013/布面油画/100X160cm
Deng Yifu/ Samuel Beckett/2013/
Oil on Canvas/ 160X160cm
邓猗夫/广场/2013 /布面油画/120X200cm
Deng Yifu/Square /2013 /
Oil on Canvas/120X200cm
邓猗夫/未曾发生/2010/
数码迷彩布(ACU)，丙烯/ 100X140cm
Deng Yifu/Never happen/2010/
Digital Camouflage Cloth(ACU)，Acrylic/
100X140cm
邓猗夫最近的绘画是从一次艺术实验计划中发展出来的，在那个计划中，他定的规则是自己必须利用别人提供的材料来制作出一件作品，这个实验就是《来料加工》。其中有一个原材料提供者交给了他一桶乳胶漆，于是，邓猗夫利用乳胶漆筒盖和一块迷彩画布完成了第一张关于“图式与修正”的绘画。
当然，邓猗夫早已不在“再现”这个范畴内工作了，但是他最新的绘画主题却是关于“再现”。“再现”这个文绉绉的说法在中国的学院美术教育中叫做“写生”，在目前的艺术专业教育中，写生依然占据着主导地位，因为写生是学习和掌握图式的最好的方式。为了更加突出对图式——即观察方法——的学习，几何体、石膏像、静物这些程式化的写生对象总是会被用作为教具，实际上，写生教学的目的就是为了掌握作为程式的图式。这些程式包括，三大面、黑白灰、五级调子、红黄蓝、色彩冷暖，以及解剖学等等，当学生熟练地掌握这些程式之后，教育就完成了。
在这个意义上，教育即意味着把一个框架镶嵌到被教育者的大脑中，使他不得不带着这个框架来面对世界，这无疑是一种视觉的物化。不过，邓猗夫所做的则是强行用另一个实在的框架来破除大脑中观念的框架，或者说，用物来消灭物化。他用迷彩花纹的布作为画布，把教学范画作为写生对象，这样，绘画就彻底变成了一个如何改变既定图式的问题了。而且，不再是观念决定我们怎么画，而是画布影响了图式与构型，虽然那些画布上的迷彩纹样本来却是为了弥散构型的。
于是，出现了一个尴尬的情境：在邓猗夫的作品中，图式与修正的问题被倒转了过来，为了描绘出一幅图像，艺术家得把画布作为图式来框定他面对的图像，修正则成了一个适应工业制造的纹样的过程——绘画活动变成了一种无机的生产活动。
Deng Yifu has developed his latest paintings from an experimental art project. He set for the project a principle that he should produce a work using materials provided by others. The experiment is titled "Processing with Imported Material". One material provider gave him a bucket of latex paint. So with the lid of paint bucket and a camouflage canvas Deng Yifu finished his first painting about"schema and correction".
Deng Yifu ceased to work in the category of "representation" long before. The theme of his latest paintings, however, is "representation". "Representation",a little pedantic term, has its counterpart in Chinese art academy: Xiesheng(literally means "paint from life"). Xiesheng still dominates the current education of art in China, since it is the best way to study and grasp schemas. To strengthen the study of schema (that is, way of observation),formularized objects for Xiesheng, such as geometrical bodies, plaster models and still life articles, are used as teaching tool. In effect, education of Xiesheng aims at grasping schema as formula, such as three major surfaces,black-white-grey, five major shades, red-yellow-blue, warm/cool tones, and an atomy, etc. Education is completed after students are able to skillfully apply these formulas.
In this sense, education means inlaying of a framework into students' brains, so that they have to face the world through this framework. For sure it objectifies the visuality. What Deng Yifu has tried to do, however, is to break up the conceptual framework inside brain with another concrete framework, or as it were, to abolish objectification through object. He took camouflage cloth as canvas, canonical paintings as objects of Xiesheng. In this way, painting has been changed into a single problem: how tomodify the established schemas. Ideas do not determine how we paint any more;now canvas has great influence on schema and modeling, in spite of the fact that the samples of camouflage stripe are supposed to deconstruct modeling.
Thus a embarrassing scene: schema and correction has been reversed in works of Deng Yifu. To depict objects before his eyes, the artist has to frame them with canvas as schema. Correction has become a process of adaption to manufactured sample stripes. The activity of painting has been transformed into that of inorganic production.
