1995年出生于中国广东。曾先后就读于中央美术学院附中,英国格拉斯哥艺术学院。现工作生活于北京、深圳。
通过体察日常及记忆之物的微妙处,消除多余色彩和情绪,令绘画呈现出平静内敛的气息。基础的形体之间,色块明暗对应关系足以表达其感知体验。理性克制的绘画语言,又蕴藏着细腻持存的温度,两种矛盾的特性,赋予绘画以间离感,祛除物质自体被人为规训的表征,指向当下的“凝视与观看”本身。目前作品被Longlati基金会、和美术馆、知美术馆等机构及个人收藏。
Born in 1995 in Guangdong, China. She has studied at the Affiliated High School of the Central Academy of Fine Arts and the Glasgow School of Art in the United Kingdom. Currently, she works and lives in Beijing and Shenzhen.
By observing the subtleties of everyday objects and memories, she eliminates excess colors and emotions, allowing her paintings to exude a calm and introverted atmosphere. The relationships between basic forms and the correspondence of light and dark blocks are sufficient to express her perceptual experiences. Her rational and restrained painting language contains a delicate and enduring warmth. These two conflicting characteristics imbue the paintings with a sense of detachment, removing the representation of material entities being artificially trained. Instead, they point to the act of “gazing and viewing” itself in the present moment. Her works are collected by institutions and individuals included Longlati Foundation, HE Art Museum, and ZHI Art Museum.
自述 Statement:
“我不是看见红的,而是看见杜鹃花是红的。”也让人联想到颜料中许许多多被命名的不同的红:印度红、橘红、威尼斯红、茜素红、酒红、朱红等等。这些都可以被称为红,但当把它们涂抹到同一张画布上时,所呈现的亮度、饱和度、冷暖等都不相同,又或制作它们原材料的产地不同,因此也命名不同。当讨论“红”时,每个人脑海中浮现的是不同的红,换而言之,只有相似或相近的“红”,而没有唯一且绝对的“红”。
另一位对色彩具有更为感性理解的诗人——歌德,他把色彩大体总结为“光与影”的关系;在他的《颜色理论》中如此形容黄色:“黄色是最接近光明的颜色,是一种最温暖的克制。它是白色逐渐衰退走向消沉之后,一丝柔和的黯然。”
无论是用逻辑或诗意的方式去形容色彩,恐怕都无法让所有人满意,这也更近一步指出语言的不可靠性与不确定性,于是不得不提到:“对于不可言说之物,必须保持沉默。”
将静默的日常之物,通过克制且内敛,甚至是略带洁癖般的方式被呈现于画面之上。此语境下,物质并非关于消费,平静的笔触也与韩炳哲所指的“平滑美学”不同;这里的物质是记忆的载体、从具象中提取抽象语言的寻索道途,而缓慢的笔触和温和的色彩,则是一种清理情绪、进入静处的方式。
个展 Solo Exhibition:
2024 慕华:制·序,longlati经纬艺术中心,上海,中国