杨画廊│詹翀/描述了│现场＆自述
艺术家詹翀个展「描述了」现正在杨画廊展出中。以下分享的信息含展览「描述了」现场视频与照片，以及艺术家的创作自述「工作方式和材料」与近三年的部份作品。想要更多地了解艺术家的作品信息，可登陆杨画廊官网下载区域进行完整资料下载。
Gallery Yang is presenting Zhan Chong’s solo exhibition 「Through Description」. If you are interested in his works, please kindly visit our website to download a complete catalog.
展览视频
EXHIBITION VIDEO
http://v.qq.com/iframe/player.html?vid=q0143e1ub0a&width=500&height=375&auto=0
感谢艺术眼进行视频制作
Video provided by ARTSPY
展览现场
EXHIBITION SCENE
詹翀│工作方式和材料
我希望我的绘画看起来是种有距离的描述，但这种距离是一个非常短的距离，或者说我希望这种距离只略微拉开现实或许只有5公分得感觉，有时候都甚至会被忽视。它必须是和工作方式紧密连接的，成为一种对行动状态的记录和延伸，是一系列行动的一部分。不是单画面本身产生了想象力，而是记录的这些行动本身产生了某些想象，最终可能形成某些有含义的表达。
因此绘画对象的挑选和设置对我来说很重要，我不倾向运用绘画的便利去把比如一个杯子和一艘在想象中的宇宙飞船连在一起，或是刻画一件奇怪的看上去不在世间存在之物。我目前更加常用的方式是寻找到一些平常现实中的事物，在一个特定的现实场景和这个杯子联系在一起，或从中提取某些元素，形成逻辑，不管这个逻辑是指向现实还是指向绘画。它们的趣味并非因为在现实中不存在，它们通过一些潜在联系，和我们所体验的生活常态保持了一点点的有距离的方式呈现出来。这种距离因为所选的事物的平常而变得可控。
我拍摄下来，选择合适绘画角度去绘制。
拍摄是单纯的记录，便于我把当时的想法能尽量精准地记录下来加以利用。但绘制中，不可避免掺入的个人喜好可以让这些照片变成某种统一图式，将这些物件变成相对宽泛的概念，变得不那么具体。消除这种具体也就是让这些东西进一步强化这种和现实的距离，让我的记录的不单是一个纯客观的现实，而是一个概念的产物。制作的作品本身也是一件被加工的物品。
这样的设定其实也反作用于我的行动方式，让我在有限的范围中去体验一些思考。行动决定绘画，绘画所要呈现的对象反过来作用于行动，然后再次回到绘画上面。我想，这种方式可能不仅仅在于去画一个东西，它是思考，挑选，行动最终和记录这件事相互磨合妥协的产物。
选择丙烯在很大程度上是因为这种材料的方便，没有油画的沉重感。当然，油画的沉重感在很大程度上来自于它的历史，在心理上，而并非来自它无法达到丙烯的效果，在原本绘画学习中，惯用的油画技法常导致我无法摆脱一种惯性的绘画模式，几年前这种方式让我有种倦怠。
而原本丙烯作为一种广告材料就是为高效而生产。速干是它最大的特性。由于速干不利于反复描绘细节反而会导致画面容易出现一种明快的效果。不强调细节，让物体变得更加单纯。这种画面让我觉得有一种奇怪的“廉价感”，类似某种宣传画，似乎绘画中的一切事物变得像是一种推销。速干也让绘制的过程变得不得不更加快速而减少了思考对呈现的干扰，对我而言，这符合我对记录的定义。
部份作品
SELECTED WORKS
木板丙烯 / 160×120cm / 2014
A story with banana /
Acrylic on wood / 160×120cm / 2014
木板丙烯 / 160×120cm×2 / 2014
The Michelangelo shelf and sheets（Upper）Hem（Lower）/
Acrylic on wood / 160×120cm×2 / 2014
木板丙烯 / 150×112cm / 2014
Half of the poem-1 /
Acrylic on wood / 150×112cm / 2014
木板丙烯 / 112×150cm / 2014
Half of the poem-3 /
Acrylic on wood / 112×150cm / 2014
Shape /
Acrylic on wood / 100×80cm / 2014
Eggplant /
Acrylic on canvas / 120×160cm / 2013
木板丙烯 / 150×112cm / 2012
Soft form /
Acrylic on wood / 150×112cm / 2012
ZHAN CHONG /
WORKING METHOD AND MATERIAL
I'd like that my paintings look like descriptions at a distance. Yet a very short distance. I hope that the distance, as it were, is only 5 centimeters away from the reality, sometimes even ignorable. It must be intimately connected with my working method, becoming a kind of record and extension of my action status, a part of a series of actions. It is not only the picture itself that evokes imagination; the recorded actions also produce some imaginations, and might at last form some meaningful expressions.
Therefore, the selection and the set-up of the painting objects mean a lot to me. I am not inclined to combine (for example) a cup with an imagined spaceship, which is easy in painting, or to characterize a weird thing which seems nonexistent in the world. For now, more often than not, I find some things in the plain reality, and connect them with this cup in a certain real scene, or extract some elements out of them to formulate some logic, no matter this logic belongs to the reality or to the painting. The attraction is not that they don't exist in the reality; they present themselves through some potential connections, keeping a little bit distance from the normal life we experience. This distance is controllable because the selected things are ordinary.
I photograph them, then paint them from appropriate angles.
Photographing is simply recording. It helps me take record of my ideas on site as precisely as possible to be utilized later. In the process of painting, however, it is inevitable to take personal preferences in to transform these photographs into certain unifying scheme, and the objects into relatively broad concepts, which are less concrete now. To eliminate the concreteness is to intensify the distance from the reality, so that what I record is not only a purely objective reality, but a production of conception. The produced working itself is a processed object.
Indeed, this setting counter reacts on my way of action too, making me experience some thoughts in a limited range.Action determines painting, and conversely, the objects painted affect action,and in turn come back to painting again. I think, the point of this method is not simply painting something; it is a consequence brought by the coordination and compromise of thinking, selecting, acting, and recording.
The main reason I choose propylene is its convenience, its being devoid of the heaviness of oil. To be sure, much of the heaviness of oil painting could be ascribed to its history, a psychological thing. Not that it is unable to achieve what the propylene painting does. The customary oil painting techniques acquired through my painting training often make it hard for me to shake off an inertial painting mode, which aroused a feeling of languidness in me several years ago.
And the point of propylene as a material in advertisement is high-efficiency production. Quick dry is its foremost property. Quick dry has a negative impacton repetitive depiction of details, but it is apt to give pictures a lucid and lively effect. With less emphasis on details, the objects become simpler. I feel in this sort of picture a strange sense of "cheapness". It islike some propagation painting, as if everything in it is for promoting sales.Quick dry also forces the painter to speed up, and diminishes the interference from thinking. It conforms with my definition of recording.