新展 | 「孔洞作为通道」-马宏法个展
万一空间荣幸推出艺术家马宏法的个展“孔洞作为通道”，该展将呈现艺术家近年内未公开的全新作品，这也是艺术家继参加万一空间开幕展之后，在画廊的首次个展。
在⻢宏法早期创造和编排的神话体系中，人与兽的关系从一开始的打斗和驯服，直至逐渐和解，再至兽具备人性甚至神性，虽都呈现一定的具象状态，线条却一再简化和概括。在“羽人”、“象”和“通道”系列的最新创作中，艺术家则以抽离的心态重新审视过去散落的局部，生成出一种更加抽象整体和“混沌”的状态。
羽人 02/21 Feathered immortal 02/21
材质：汉铜山子，铜渣，楚石
Medium: Bronze rockery from Han Dynasty, Copper ashes, Chu stone
尺寸 Size：8x8x34.5cm；底座：12x12x10cm
2021
马宏法最新的雕塑创作中大量使用了孔洞元素，充分赋予了作品神秘感。从河道里捡的鹅卵石、楚石、邺城的老残砖、采石场中遗留工业痕迹的废料等，都是艺术家经年来创作中不断出现的材料。他逐一寻得其原有特质并加之以其独到的艺术洞见，以此探索雕塑中的正负形平衡。在他看来，孔洞为阴，镶嵌为阳，二者既可调和，亦可视为视觉、信息与情感的通道——如作品中如表现精神世界与四维空间中的克莱因瓶，及洞天形象化的不可定向的拓扑空间。在羽人和混濛小兽等更具象的系列作品中，双眼也通过孔洞表现，因此其目光既具备文化时期的质朴，亦具一种难以名状的威严和精气神。当观众与雕塑四目相对，无一不感谦逊与平静。艺术家在高度重视材料本身的自然性同时，又在细微之处对不同质地的原料进行缓慢雕琢；难得的是他在作品完成之后仍与材料发生长时间局部的抚摸与接触，形成新的观念叠加。当聚焦于作品细部时，能在材料粗粝的表面不经意发现一处光滑温润的穿孔；羽人背后有这精妙的脊柱凸起；或刻意打磨出有序又兼具抽象的线条；或现实生活中无处可寻却又理应存在的小兽……这些是材料、微痕与形象在艺术家掌中反复碰撞，又在孔洞和球形的结构中重新收紧的结果。
此次还将展出马宏法的全新综合材料作品。2018年，艺术家将不小心打破已故父亲的鸟食罐碎片收集起来，与儿童画的画布结合在一起，同时镶嵌上唐俑残件，整体作为一个回忆的通道，并以此件作品开启了一条新的线索，作为个体和社会情感修复形式的伊始。以面目模糊的麻衣神相，宋代陶球，高古残件等艺术家收藏已久的器物和碎片，首次以实体的方式进入创作中，体现了个人生命经验与物质联系，从而获得不同文化和时间段交织而成的创新性作品。
色金 01/21 Guilting 01/21
材质：金箔，不锈钢，宋代瓷球
Medium: Gold foil, Stainless steel, Porcelain ball from Song Dynasty
尺寸 Size：31x31x8.5cm
2021
展览现场 Exhibition Site
孔洞在马宏法的作品里，既是平衡与负形的必须，又是视线流转的入口与通路。我们能从一件作品中感知的气息和世界，可能远远大于其他认知形式。物与物的相遇，通过孔洞的穿梭形成另外一种新的“场”，相遇的关系也是物与人在相互介入过程中所呈现出来的心理想象，与通向的纯粹自由精神的仪式空间。
*设计顾问单位：無設空间设计事务所
TUNNEL
Ma HongFa Solo Exhibition
W.ONESPACE is honored to present artist Ma Hongfa's solo exhibition Tunnel, which will reveal his unpublished new works in recent years. This is the artist’s first solo exhibition at the gallery after participating in the inaugural exhibition at W.ONESPACE.
In the mythological system created and choreographed by the artist in the early days, the relationship between human beings and beasts starts from the struggles and domestication, then gradually reconciliates, at the end the beasts possess human nature and even divinity. In the latest works of "Feathered Immortal”, “Untitled” and “Xiang” series, the artist re-examines the scattered parts of the past in a state of detachment, thus generating a more abstract and "chaotic" atmosphere.
Ma Hongfa has rooted in art history and mysticism for a long time. In the early days, he studied classical art and philosophical implication, constantly revisited the aura of ancient art, and then represented in contemporary context according to his personal aesthetic perspective. Such as classical plastic art and early modernist sculptures in Europe influenced by it, those clues have a profound influence to the artist, bringing different contexts into the artist's current discussion. However, in recent years, the artist is influenced by the scholar stones and begins to emphasize the texture of material, the circulation of aura and the exploration of other dimension of spaces in his works. The material itself not only refers to its externality, but its proper position obtained through the interdependence of objects and objects, objects and space, and objects with human interaction. From the pioneer cognitive contexts of Western contemporary art study, ancient Chinese scholar rocks is another conceptual ready-made art, with an architectural sense of structure and unphysical naturalness, that is, a landscape metaphor of transcendent imagery. The sight goes through and circulates with different routine in the stone, so the path leads to the secluded, the wind and the moonlight leak through the holes. Therefore, appreciating the scholar rocks will produce an ultimate aesthetic experience. After the sight penetrates, it is possible to discover the inner construction of spiritual meaning through the choice of visual recognition, a kind of transcendence therefore inherent in romanticism.
There are full of mystery in the latest sculpture works by the hole-shaped elements in Ma Hongfa’s latest sculptures. Cobblestones randomly picked up in the streamways, Chu stone, old bricks from Yecheng, and the abandoned waste with industrial remains left in the quarry, these are all fragmented materials that Ma Hongfa has been collected over years. He characterized each material according to their original shapes, using negative shape to balance the overall atmosphere. Holes take as Yin, and inlays take as Yang, they are used not only as elements balancing the visual and creating a harmony aura, but also as a tunnel, a channel of information and emotion exchange, something we can refer to the Klein bottle in the ideal four-dimensional space of spirit and transcendence. The artist also directly makes the eye a hole in creatures such as feathered immortals and little beasts, so that they not only have the simplicity similar with those from the Neolithic period, but also have an indescribable majesty and spirituality, making the viewers instantly feel humble and calm. Although Ma Hongfa maintains the original texture of the material to a great extent, he also spends a lot of time in the subtleties to slowly polish these hard stones by hand, creating abundant layers physically and conceptually. If you pay attention to the details of each work, there is a smooth and fine perforation on the rough stone, a delicate spine behind the feathered immortal, lines that are deliberately polished but also abstract, small beasts seem to exist but can be found nowhere in real life… The material, micro traces and the image collide repeatedly, and your attention will be attracted again in the holes and spherical structures.
Ma Hongfa's new works of mix media will also be exhibited. In 2018, the artist collected fragments of bird food jars he accidentally broken, which is the remains pass after by his deceased father, and combined them with childish paintings, together with fragments of Tang figurines, marking the beginning of a new clue, also as a source of repairing personal and social sentiments. Artifacts and fragments that have been collected by artists for a long time, such as blurry base of Chinese ancient physiognomy books, pottery balls from Song Dynasty, other ancient artifacts and fragments have entered his art works for the first time in a physical way, reflecting personal life experience and material connection, so as to obtain innovative works that are intertwined with different cultures and time periods. Take the medieval Object Montés (the collection of antiques or precious objects for decoration or protection) or the Arte Povera in Italian conceptual art for example. Within the haze of foggy backgrounds displayed by the brushstrokes, the two dimensions travel through three dimensions, the flat reaches to the cube, forming a complete path with different time dimensions, and reconstructing a brand new relationship, as if it is a more general fables of Repair. The artist steps further in the series of “Gilting”. The concept and intention of gold in terms of materiality are complex and heavy. Therefore the artist chose this dazzling material to imply the relationship between space and time, giving people an open collective imagination.
In Ma Hongfa's works, holes are not only necessary for balance and representing negative spaces, but also entrances and tunnels for the flow of sight. The aura we can perceive from a work might be far greater than other forms of cognition. The encounter between objects starts to form another new "field" through the shuttle of holes. The relationship of those encounters is also the psychological imagination presented by objects and people in the process of mutual intervention, and the ritual space that leads to pure freedom.
The exhibition will continue to August 27th, 2022.
马宏法
Ma HongFa
1984 年出生于山东，毕业于西安美术学院，现生活工作于浙江杭州。
受历史、时代、家族、地域等综合影响，这位 80 后艺术家偶然且必然地成为了 “中国古典雕塑精神的一个探索者与实践者”。
在艺术家层层递进营造的个人创世神话系统中，体现了他意识形态的再现与叙述，对古代作品的研究与当代语境化的转译。马宏法的作品超越了时间，他使不同脉络圆融，并重新纳入自己当下的讨论语境。艺术家对艺术史与材料质感的充分把握，赋予其作品以独特的仪式空间与精神性。
Born in Shandong in 1984
Graduated from Xi'an Academy of Fine Arts