1963 年出生于上海，毕业于上海科技大学，为中国抽象书法艺术界的领军人物之一。在他的抽象书法裡，文字、笔触、线条及色彩没有了时间的规范与界线。他将丙烯油彩用以点线笔触来回穿梭于重新架构的语言意识中，一笔一画看似是随意地投掷，其落点却十分巧妙。黄渊青的绘画深受其书法影响，上世纪 80 年代中期便以现代书法为主要创作。而后便对”传统”萌起了异念，尝试用自身书法领悟对其语言空间赋予全新辞彙，用其深远的书法逻辑韵律成画布上的点睛之笔触，以一种佯装失衡的形式来作文字的反描绘。
从他的绘画中能感觉到时而像是风中痴缠的灰林散叶，时而像是腾腾燃起的炽欲丛林，书法式的笔触中蕴 含着一种李白与梁楷式的精緻洒脱。近观时犹如一体制下不安躁动的灵魂悠然摆盪，而远观一雅致清丽却 俏然而至。是为一情感的外化，一自由精神的载体。而这次展出的即是让黄渊青走进抽象艺术最具代表性 的系列作品，以传统中国书法与西方抽象表现绘画的美学与技法融合再解构、解构再重组，来作为抽象艺术的一新姿态。
当虚与实的感知体系被重组，当无时间性的语言被还原成点线面。人类学家克劳德 · 李维史陀(Claude Lévi-Strauss)曾说:「我们所感知到的外在世界，本质上是一个没有分别的整体。而这个把”整体”不断划 分成”万物”的概念工具，就是语言。」不论是陈墙揭示人类感知的”符号信息”，还是黄渊青中国古代 艺术的”书画同源”，皆以各自独有的绘画方式来回应抽象艺术，以一种对语言的恣意排列将其译为某种 更属于人类感知的东西，犹如一场觉性幻现出的绘画语言之舞。
Born in Shanghai in 1963 and graduated from Shanghai University of Science and Technology. He is one of the leading figures in Chinese abstract calligraphy art. In his abstract calligraphy paintings, the words, strokes, lines and colors have lost the norms and boundaries of time. He flits acrylic paint back and forth through the restructured linguistic consciousness with dots and lines, each stroke seemingly thrown at random, but the placement is ingenious. Huang's paintings were deeply influenced by his calligraphy. In the mid-1980s, he mainly created modern calligraphy. Then, he began to think differently about the "tradition". He tried to give a new vocab- ulary to the language space with his own calligraphic insight, to transform his profound calligraphic logic into brushstrokes on canvas, and to repaint words in a form that pretended to be unbalanced.
From his paintings, sometimes it is like the scattered leaves in the dark forest entangled in the wind, and sometimes it is like the blazing forest of passion. The calligraphic brushwork contains a kind of delicate, free and easy style of Li Bai and Liang Kai. Up close, it is like a restless soul in a system, but from a distance, it is elegant and beautiful. It is the externalization of an emotion, the carrier of a free spirit. These works are the most representative, that let Huang walk into abstract art, combine the aesthetics and techniques of Chinese calligraphy and western abstract painting as a new attitude of abstract art.
When the perceptual system is re¬organized, when the timeless language is reduced to the dots and lines. As the anthropologist Claude Levi-Strauss once said, "The external world as we perceive it is essentially an undifferentiated whole, and the conceptual instrument that continually divides the whole into everything is language." Whether it's Chen's symbolic information or Huang's calligraphic paintings, both artists respond to abstract art in their own unique ways, to translate into something more belong to human perception, this exhibition will be like a dance of painting in an illusion.
