墨方Mocube | 毛宇：无时无地 Mao Yu: Impermanence
毛宇：无时无地
Mao Yu: Impermanence
艺术总监：戴卓群
Art Director: Dai Zhuoqun
展期：2020年4月9日- 2020年5月17日
Date: April 9, 2020 – May 17, 2020
开幕：2020年4月9日，下午4点（周四）
Opening: April 9, 2020, 4 pm (Thursday)
墨方Mocube
文明可能是从开洞凿孔开始的。
石器时代的孔洞冲进了我的画面，器物、身体、洞穴、大墓——连接着我们的身体，一起进化，一起衰败，一起重生。
我的创作是围绕这一方向展开，与多年研究秦汉器物有着直接影响，气云纹如神龙翻腾的云朵，飞动而有序把千年的气象带到我面前。
时而模糊时而清晰，又相互交融、相互转化，难以言说。
空白的画布前思绪冥想，自我挣扎、分裂，抵触又兴奋，当画笔触碰到画布的瞬间，意识逐渐清晰甚至让具体毫无保留。
跟随辛追指引——我开始挖掘我的洞穴。
入口层层叠叠，摄魂夺魄，器物是那个世界遗落的花瓣。马王堆装饰主体是我创作的开端。起初以探索纹样与方形通道相互契合，从而来获得内在联系，同时通过这一方法突破自我表现形式的模糊。
颜色是以器物上时间痕迹和陶器感受为蓝本寻求色彩质量，画面有了端倪，色彩也彰显出自由。图像的借用也放大了问题，画面的形式语言无法突破纹样自身带来的形象特质。
此次的创作继“夫吹万不同”展览的延续，嵌进墙体里的声音装置是帝王陵墓形制的缩影，如同竖立起来的王陵墓室，站在漆黑的洞口，身体会下意识紧缩，走进去的念头一直怂恿我，怪异的生理反应让我感知到身体的虚无与模糊，那是一个世界，像滴水一样滴答作响，又像冰一样凝固不动。
冥冥的虚无。就像是用纱布糊起的墙，模糊的存在，模糊的呼吸。
我逐渐放下了纹饰的运用，只保留了方形通道部分，有形部分在大面积的空白中释放能量，色彩气质丝毫没有因为纹饰的改变而丢失，可能也是懂得后的缘故吧。
方形通道开始变得模糊不可触碰，色彩的自由叫人狂奋，营养有了新的取舍。
通道没有指定的形体，可能是任意形体或者不需要形体。方形边界思维被冲破，似乎与另一端的联系就在眼前，然而什么也看不到。一种亲近，想靠拢的亲近，解衣磅礴地驰骋。以自由为宠物，趣味做薄衣，行走于画布之间。
“当其无，有器之用；凿户牅以为室，当其无，有室之用：故有之以为利，无之以为用。”老子所说无不是没有，水杯使用的是它没有的部分，房屋使用的也是无的部分，孔洞亦是一样的吧！
对我而言，无形区域也是孔洞本身，穹大虚无，物外之力。早年的创作偏爱处理有形部分，彼时爱花朵缺爱土壤，现在喜欢并更愿驾驭无形部分，能量互换是如此的妙趣。
创作，亦是反复试错，过程中经常要毁掉很得意的部分，重新修正，放下是纠结痛楚磨炼后的释重。
这种推倒重来，形成了特有的图层样貌，像石头之坚硬，又像水之无痕，又好似无时无地之无常。
Civilization might have begun with digging caves.
The caves from the Stone Age have been adopted into my painting, where tools, bodies, caves, mass graves – connected to our bodies, have evolved, declined, and reborn with us.
My practice revolves around this subject, which has been directly impacted by my research on Qin and Han Dynasties' artifacts, ethereal clouds shrouding the sky like the revel of the spiritual dragon, such orderly composition introduces an atmosphere of the past millennium before me.
At times opaque while others lucid, intertwined, and transformed from one another – these are the ineffable impressions.
Contemplating in front of a blank canvas, I struggle, feel divided, reluctant, and excited at the same time, as the paintbrush lands on canvas, my conscience becomes explicit or even unreserved.
Following these guidelines, I began to dig my cave.
The layers at the entrance project a ghostly and spiritual presence. The artifacts are the fallen petals from that world. The main excavated from Mawangdui is the point of departure for my practice. Initially, I sought out the resonance between patterns and channels to establish their internal relationship, at the same time, adopting this approach to challenge my ambiguous mode of expression.
Traces on the artifacts and the impression from the ceramics became the blueprint for the colors on canvas. With these clues, the colors demonstrate freedom. The appropriation of images magnifies the questions, while the formal language on canvas could not compromise the formal qualities of the patterns.
This exhibition extends from the previous, “See It," the sound installation built in the wall encapsulates the shadow of imperial tombs, set vertically as it stands at the entrance of a pitch- dark cave. One's body might feel tight, and the impulse to go in urges one to move forward. This strange physical response made me realize that the void and ambiguous body is a world of itself, like the drops of water spattering, or the motionless ice.
The unconscious void, like the wall built with gauze, is as opaque as one's existence and breath.
Slowly, I gave up on adopting the patterns but has kept the square channels, allowing its form to release energy off the blank canvas, while the qualities of color have not been lost in the absence of the patterns; perhaps that execution was done with a particular understanding.
The square channel has become opaque and intangible, and freedom of using colors invigorates me that allow me to make new decisions.
The channels do not have designated forms, which can be any or none. Once the idea for square boundary has been undermined, the relationship with the other end seems apparent, yet nothing is visible. There is a kind of intimacy, one that propels to get closer, in an unhinged command. Taking freedom as a pet, taste as a gown, I began to meander between the canvases.
“When there is nothing, there is the use of utensils; when the house is chiseled, there is the use of rooms: So there is something for profit, there is nothing for usage." The void Laotzu referred to is not the lack thereof, for example, the useful part of a cup is where it's empty, the empty space in a house is what people inhabit; hence, the same must be true for the cave.
For me, the formless is also the caves and holes, the immense void, and the power beyond the objects. My earlier practice focused on the aspects of form. Then, I preferred flowers over the soil, now I am much more interested in the formless, as the exchange of energy can be just as wonderful.
Artistic practice is a continuous process of trial error, where one often has to reject the parts that seem satisfying. Revisions allow one to leave indecisions behind and embrace the outcome.
This kind of rejection shapes the outcome of unique painted layers, which is as solid as stones, as traceless as water, and as impermanent as all beings.
毛宇
1980 年出生于黑龙江，毕业于西安美术学院版画系，现居北京。个展包括：“夫吹萬不同“，单行道画廊，北京，2018；“草蛇灰线”，法拉耶艺术中心:鲲鲤画廊，上海，2015；“牧牛”，凡人乐墅画廊，杭州，2009；“人类的树”，红寨当代艺术画廊，上海，2008。群展包括：“一阴一阳之谓道”，鲲鲤画廊，上海，2011；“寄居蟹1号-首届草场地摄影季”，荔空间，北京，2010；“Extreme Place”，加利福尼亚图片博物馆，美国，2009；上海当代艺术博览会，上海，2008；纽约当代亚洲艺术博览会，纽约，2008；“精致的尸体”，M97画廊，上海，2008；“ECLECTIC PEOPLE”，加利福尼亚图片博物馆，美国加州，2008。
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地址：北京市朝阳区酒仙桥路2号798艺术区706北2街
开放时间：周二至周日10:00-18:00（周一闭馆）
电话：010-59789376
邮箱：mocube2016@163.com