Art / Lab 宋卓然-在图像创作中捕捉灵光

Original Dudu Du Laboratory 2023-05-03

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#德意志归来，欧洲艺术家工作室，柏林画廊周 93 个

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#ART 22 条 99 个

#新·艺术生产者 90 个

Du/Laboratory是一个综合性的试验平台，涉及的创作媒介跨越当代艺术的各个层面，对四处空降的国际化当代艺术潮流保持一种警惕性，同时致力于艺术家自身系统的充分、深入挖掘，持续关注徘徊在艺术和非艺术边缘“中间状态”的实践。

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宋卓然

SONG ZHUORAN

《通往核桃树庄园的小径》蓝晒工艺

41x31cm 45x35cm,法国阿诗水彩纸，2021-2022

作品中出现的图像来自我日常收集的一些明信片，杂志，卡片，书籍，照片。。。。我将他们重新选择编辑，画面中无序的植物通过阳光留下拓印的图像，让时间，记忆，历史和自然都交织在一起。构建了一个潜在的世界，在这里又向现实凝视。核桃树是《伊索寓言》里的一个故事，本是人类浑然一体的蒙昧，你开始解读它的同时，也在损害它本来的真实和本然，通过不断的解读，我们离母体越来越远，成为孤独的存在。作再多的努力，拼合的多元群像再也不是母体的本来，因此追寻意义的徒劳循环往复，成为人类的精神困境。

《A Trail Down to the Manor House of Walnut Tree 》

Cyanotype, 41x31cm 45x35cm, French Arches Watercolor paper, 2021-2022

Postcards, magazines, books, and photographs are very important sources, from which the images in my artwork derive. I collect, re-choose, and edit those images, in which disordered plants leave printed images, silhouetted against the sun. closely intertwined are time, memories, history, and nature, which build a potential world where reality is reflected. Walnut tree, a story in Aesop’s Fables, presents the ignorance of human beings; nevertheless, the more committed people to interpreting it, the more blurred the interpretation is prone to be. Through continuous interpretation, we become increasingly isolated from the core and become a lonely existence. Immersed in the interpretation as people are, the combined multi-group image becomes detached and is deprived of the original meaning, so the futile cycle of the pursuit of meaning has become the spiritual predicament of human beings.

《雕刻时光》

蓝晒工艺， 41x31cm 法国阿诗水彩纸，2021

这个系列作品在创作的观念上延伸2020年的《彼岸世界的鬼魅》系列中的思考内容与主题，其中对于生命的思考更趋于理性，作品呈现了克制的表达，和对生命的不确定性的捕捉。对于蓝晒这一古老的印相工艺，新的系列与旧作视觉呈现的不同之处在于：蓝晒延伸工艺-湿版蓝晒与蓝晒叠加化学显影法的实践探索丰富了作品的视觉语言与视觉符号的多维度表达，画面层次也因为注入了新的表达技法，更显流动和神秘，诠释了间接的隐喻与感受。作品名称《雕刻时光》来自我喜欢的导演塔可夫斯基的一本书，我将塔科夫斯基的电影中那富有诗意的流动感和神秘气息带入到我的作品中，在逐渐加入的叙事方式和情感记忆中讲述女性对于生命的感受。一些绝对真实的神秘符号，它看起来如同一个启示，一种无时无刻的殷殷期待，盼能以知觉，并且一劳永逸地参透世界所有的法则——它的美与丑、温馨与残酷。对无限的认知，透过影像得以维持：它是有限之内的永恒，物质之内的精神，形式之内的无极。

《Sculpting in Time 》

Cyanotype, 41x31cm, French Arches Watercolor paper, 2021

Particularly influential is the work Phantoms Hereafter, the thought and theme of which lay a solid foundation for the artwork Sculpting in Time. With the outlook on life tending to be more rational, the works present a restrained expression and capture the uncertainty of life. In terms of the ancient printing process of cyanotype, the difference between the new series and the visual presentation of the old works consists in the following aspects: the practice and exploration of the cyanotype extension process, wet-versioned cyanotype, and chemically cyanotype-superimposed developing methods enrich the visual language and multi-dimensional expression of visual symbols of the works. Because of the new expression techniques, the level of the picture is more fluid and mysterious, thereby explaining the indirect metaphor and feeling. The title of the work Sculpting in Time derives from a book by my favorite director Tarkovsky. I bring the poetic sense of flow and mystery of Tarkovsky's films into my works and tell the feelings of women for life in the way of narrative and emotional memory. Some mysterious signs of absolute truth seem like a revelation, a constant eagerness to perceive and understand all the laws of the world, beauty and ugliness, and warmth and cruelty. The recognition of the infinity is sustained through the image – the eternity in the finite space, the spirit in the materialistic world, and the infinity in the morphism.

《彼岸世界的鬼魅》

蓝晒工艺， 41x31cm ,法国阿诗水彩纸，2020

利用传统的蓝晒工艺进行创作，作品的构成让我已经突破了对摄影语言的表达，而是回到了对现代主义的再认识当中，平面的硬边，在空间中自由的组合，多层次的曝光，使得画面充满了迷人的层次，仿佛岁月与时光都凝聚在这色层之中，生命力的顽强与脆弱，丝丝入扣的聚集在那神秘的，斑驳陆离的普鲁士蓝的影调之中，现代视觉艺术史中最为重要的成就之一即；19世紀末对平面性的回归与确立。另外一点就是图像的挪用，在后现代艺术中，是被应用最为广泛的表现手法。挪用的本身就是一种解构，是泛化的图像消费。德里达把索绪尔的符号学应用在语义学上，能指和所指并没有像现代性的理性一厢情愿认为的那样泾渭分明，语言符号脱离了经验世界的此岸世界，却也并没有如我们所愿的链接到了彼岸世界，而是在彼岸世界游荡。我们本来以为的确定性，在我们自身不断的努力中越来越不清晰，反而更加模糊，形成了幻影，如同鬼魅。

《Phantoms Hereafter 》

Cyanotype, 41x31cm , French Arches Watercolor paper, 2020

Of great significance during the creation of the arts is the cyanotype, a skill that enables me to break through the expression of photography language and renders me cognizant of the importance of modernism. Elements – flat hard edge, free combination in space, and multi-level exposure – endow the picture with mesmerizing layers, as if time is condensed in this color layer, and the tenacity and fragility of vitality are closely interwoven in the mysterious and variegated Prussian blue. One of the most important achievements in the history of modern visual art is the return and establishment of flatness at the end of the 19th century. Another point is the use of images, which are the most widely used expression technique in postmodern art. The use of images, a kind of deconstruction to some extent, is a generalization of image consumption. With Derrida applying Saussure's semiotics to semantics, the signifier and the signified are not as distinct as the rationalized thinking of modernity expects. The language sign transcends the experience world; however, it is not linked to the underworld as we wish but loiters there. Our well-anticipated certainties are more blurred in our constant efforts than transparent, thereby forming a vague and phantom-like ambiance.

《一段述说》

蓝晒工艺，水彩，墨汁，水性笔， 25x18cm 32x28cm 39x26cm,法国阿诗水彩纸，2020-2021

这个系列在蓝晒的基础上进行书写性的绘画，绘画的过程像是在写日记，既想去与大家分享，又有所保留，所以在书写过程中会用模糊的文字和图像进行记录，一些动物和神灵隐约出现在画面里，那是对自身记忆的一种寓言式的呈现，混论破坏了秩序，我将想象中的空间，心理引力和文化原型重组，通过这种方式将内在状态呈现出来。

自远古以来情感就被视为“着魔”，这便是我们为何至今说一个坏脾气的人是魔鬼缠身或者是恶魔已经进入其身体。原始心理将看不见的存在之物人格化为精灵和鬼怪是十分自然的事。意象以及占据内在视野的朦胧视像产生的时候会有一种超验的精神，凌驾于本源的生命之上，成为超越自然与尘俗的宇宙秩序，精神本身具有自主性，精神亦能自发的表现自身。

《An Episode of Narration》

Cyanotype,watercolor,ink,pen color, 41x31cm, French Arches Watercolor paper,2020- 2021

Based on cyanotype, the series starts the process of writing-oriented painting, during which I not only want to share with you but have some reservations as well; therefore, in the writing process, I used fuzzy words and images with some animals and gods appearing in the picture, a kind of allegorical presentation of my own memory. With chaos destroying the order, I reorganize the imaginary space, psychological gravity, and cultural archetype to present the inner state. Emotions have seemed devil incarnate, a reason why we still say that a bad-tempered person is possessed by demons or has demons in his body. It is quite natural for the primitive mind to personify the invisible into spirits and ghosts. When the image and the hazy vision that occupy the inner field of vision are produced, there will be a kind of transcendental spirit, which is above the original life and becomes a cosmic order beyond nature and the world. The spirit itself has autonomy, and the spirit can also spontaneously express itself.

宋卓然，1982年出生于沈阳，毕业于法国利摩日-奥比松国立高等美术学院，获得法国高等实验造型艺术硕士学位。现工作于辽宁美术馆，以策展人的身份曾独立策划几十场国内外艺术展览，2017年获得文化部艺术司15位青年策展人扶持计划之一。以艺术家的身份参加国内外的艺术展览，学术研讨活动。作品获得省级摄影展铜奖，省十佳青年摄影师，作品被国内外众多美术馆及艺术机构及私人收藏。

Song zhuoran ,Born in 1982, in Shenyang. Graduated from the National Academy of Fine Arts of Limoges, France, in master‘s degree。Working in LiaoNing Art Museum. At same time, I’am an artist, a curator. I have independently planned dozens of domestic and foreign art exhibitions in the past 10 year. In 2017, won in one of the 15 Young Curators Support Program by the national Art Department of the Culture Ministry . The works has been in art exhibitions and academic seminars both here and abroad. won the bronze prize of the provincial photography exhibition, Top ten young photographers in Province of LiaoNing. collected by many art museums, art institutions and private collectors in china and abroad.

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Du/Laboratory is a comprehensive experimental platform, involving creative media spanning all levels of contemporary art, maintaining a vigilance against the international contemporary art trend that airs everywhere, and at the same time committing to the full and in-depth excavation of the artist's own system, continuously Focus on practices that hover in the "middle state" on the fringes of art and non-art.

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