余少龑个展——独白｜三影堂厦门展讯

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展期

2019年6月9日—7月9日

策展人

钟林春

开幕

2019年6月9日，下午三点

艺术家对谈

2019年6月9日，下午四点

主办

三影堂厦门摄影艺术中心

地点

三影堂厦门摄影艺术中心

（厦门市集美区杏林湾营运中心，2号楼301）

余少龑个展——独白

  文/钟林春

初知少龑（yǎn），是他在假杂志的一个线上展，《扁平的建筑》。那是他留学柏林之初，于街头所拍的种种建筑表面，冷静而简约。及后见他用WASHI FILM和纸胶卷所拍的“花的姿态”三部曲等，忽已有情。黑白的影像，隐约，虚白，流动，有水墨之感。本是修习书法的他，有了这一载体，蓦然找到了个人的风格。

处身异国的他，借师友遥远的目光，更自信地锤炼自己的摄影语言。他成长着，亦广泛地吸收着，从东到西。不变的，是他仍爱一人独行，将一己情感，寄托在山、水、云、海，自然万物之上。这些出自传统山水画的元素，在他的照片里，若现实，若梦幻。他说自己喜欢沉醉其中，用意象来表达意境。他的作品，以此如一次次的独白，行吟于天地间。

他寄情于山水，喜欢国画无问透视的观看方式。但原不肯止步于此，而去留学的他，更希望做出西方人也看得懂的新作品。他尝试着，将传统的书法、国画，与西方的摄影术结合做成当代艺术。

W7-3

不得不说，这是一个很有野心的计划，但从找到这一和纸胶卷开始，这个探索，有了突破的方向。一度受井上有一启发的他，决定用抽象水墨一样的黑白负片的方式，来对接德国浪漫主义风景油画，及至抽象表现主义的脉络。他还写诗，会书法，兼以他对影像、装置等的兴致，很可期待，将来还有更多的可能性。

他还在寻找并确认风格的路上。从本科书法毕业时，写下一个巨大的“觉”字开始，到留学德国，创作“花的姿态三部曲”-“腐朽”、“重生”、“绽放”，他始终在寻找那“黑暗中最亮的光”。虽然，未见伊人，心有忧伤。我仍感叹他，那种“素履之往，独行愿也”的情怀。

艺术家简介

1989年生，湖北宜昌人。

艺术家，现留学于德国柏林学习摄影。

个人网站：https://suchtsehn.com

2011年毕业于湖北美术学院国画系首届书法专业。

2013年-2017年就读于德国柏林工程艺术大学(BTK)本科摄影专业。

2017年-2019年就读于德国柏林BTK, University of Applied Sciences摄影专业研究生，获硕士学位。

余少龑长期致力于中国传统文化的研究与西方当代艺术的创新与结合，并从中提炼出自己独特的语言及表现方式。

艺术家作品

W8-2

W31-1

W40-3

W38-3

Duration：9 June—9 July, 2019

Curator: ZHONG Linchun

Opening: 9 June, 2019 @ 15:00

Artist Talks：9 June, 2019@ 16：00

Organizer：Three Shadows Xiamen Photography Art Centre

Venue: Three Shadows Xiamen Photography Art Centre (301, Building No. 2, Xinlinwan Business Center, Jimei District, Xiamen)

Preface

I first discovered the images of Shaoyan through an online exhibition titled “Compressed Architecture” that was presented on JZZP’s WeChat account. Shaoyan contributed calm, simple photographs of buildings that he took while studying in Berlin. I then saw his series “The Gestures of Flowers,” an emotional work for which he used Washi Film – a novel black-and-white film that mimics traditional Japanese washi paper. The looming, flowing images looked akin to Chinese ink paintings, and I believe it is with this tool and his background in calligraphy that Shaoyan found his style.

Shaoyan has wandered far from the motherland, absorbing East and West and adapting his language along the way. But he has retained a sense of solitude and an ability to project emotion  onto mountains, clouds, the sea – indeed, all natural beings. Elements originating in traditional Chinese painting merge with reality in his pictures. He presents us with a reiterative monologue, flickering between heaven and earth.

Shaoyan is in love with landscape and the askew perspectives of traditional Chinese painting. But he was not content to remain in the province of “tradition.” Studying overseas, he tried to make work that Westerners could understand and appreciate. He explored combinations of Chinese calligraphy and painting and contemporary photography, striving to make modern art.

This is an ambitious goal. And since discovering Washi Film, he has made significant progress. Influenced by the Japansese painter Inoue Yuichi, he decided to use black-and-white film as a form of abstract ink, drawing from abstract expressionism and romantic landscape paintings of Germany. He has also been writing poems, creating calligraphy, and exploring the potential of installations. New possibilities open all the time.

Shaoyan is still exploring. When he graduated from his undergraduate program in calligraphy, he wrote a large “觉,” which means “feelings” and “introspection.” Then, when he went to Germany to study, he created his “flower trilogy” – “death,” “rebirth,” and “bloom.” He is always looking for “the brightest light in the darkness.” Now he is unsatisfied with himself and on the road to something bigger. I appreciate his lonely persistence.

-Zhong Linchun

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