【活动回顾】杨仁喜驻地项目开放日Review on Inhee Yang's Project Open Studio

驻地活动现场@工作室画廊项目空间，2018

On-site view @ Studio Gallery - Project Space, Shanghai 

2018年6月3日下午艺术家杨仁喜的驻地项目《边》如期开幕，在艺术家的引导下大家从真实的物理空间一步一步地走进了艺术家的材料绘画空间。此次项目的展示将持续至2018年6月16日。

In the afternoon of June 3rd 2018, Artist Inhee Yang's residence project Corner opened as scheduled. Under the guidance of the artist, we walked into the space created by Inhee's material and painting step by step from the real physical space. The exhibition will last until June 16th, 2018.

驻地活动现场@工作室画廊项目空间，2018

On-site view @ Studio Gallery - Project Space, Shanghai 

《边》Corner

—— 杨仁喜驻地创作纪实（节选）

An On-The-Spot Report Of Inhee Yang’s Art Residence Project

她近期的绘画并不是拿笔画的，而是各种喷洒，涂抹的方法，把油画、丙烯、白胶等各种类型的颜料扔到画布上。等颜料干后，用手再撕下来。方法很多。在我看来，她的绘画更像是一种身体体验，而不是产生于视觉的联想。

Her recent paintings are not painted with brushes, but with spraying and smearing all kinds of paints. Such as oil paints, acrylics and white glue, just directly threw them onto the canvas. When the pigments get dry, she tears it down with hands. She applied a lot of methods. For me, her painting is more like a physical experience than a visual association.

颜料几乎没有调和，而是直接涂抹上去。她喜欢购买颜料的过程，看到喜欢的就买下来。买的时候并没想到用它来描绘什么。等到画画的时候就随手用在画面上。我喜欢她这种对待颜料和画布的态度。她切断了它们之间的天然联系，也割断了自己有意事先经营一张画面的企图。未经调和的颜料更加的物质，呈现材料本身的质感，阻断你进行任何的视觉联想。

The pigments had almost no blending, but was used directly on the canvas. She enjoys the process of buying pigments and she just buy the ones she likes. However, she didn’t expect what to paint with these pigments when she bought it. Then until she started a painting, she used them on the canvas without choosing. I like her attitude towards pigments and canvas. She cuts off the natural connections between them and cuts off her intention to preset a painting. Unblended pigments are more material sense, presenting the texture of the material itself, and it blocks you from any visual association.

图一、图二 | Image-1，Image-2

刚才说到的撕扯方法，被延续到了这次的驻地项目。（图一）是一张两年多以前开始的绘画，至今没有完成。两年的时间，表面的丙烯已经完全干透，但丙烯下面还有被覆盖的油画颜料。两种不同的材料，质地和干燥的时间不同，当敲打硬硬的表面，里面还有点软，想一想，它会带给你什么样的感觉？你会想要干什么？在这样大量的体验下，触发她用手去揭开表面干枯的表皮。这个过程有点像平时抠脚上的死皮一样。那是很触觉的，身体的一种反映。当被揭开的瞬间，也会激起心理的快感。她告诉我，除了用手，还会用刀，旋转的挖掉一块。“挖掉之后就再也回不去了，无法复原”，她在描述自己的感受时，眼神深深的指向当时的情景中。可见这种一去不复返的即逝感，是一种深刻的生命触动。

The tearing method mentioned above was extended to this residence project. (Image-1) is a painting that began more than two years ago and it has not been completed yet. During these two years, the acrylic on the surface has been completely dried, but there are still oil paints are covered beneath.Two different materials, the textures and the drying time are different, whenknocking the hard surface, there is a little soft inside, think about it, what does it feel like? What would you want to do? With such a large amount of experiences like this, which triggered her hand to tear off the dry skin. This process is a bit like peeling off the dead skin on your feet. It's very much a sense of touch, a reflection of the body. The moment when it is uncovered, it also arouses a psychological pleasure. She told me that in addition to using her hands, she uses the knife to spin away a piece. "After cutting away, she can no longer go back, unable to recover". When she describes her feelings, she looks deep into the scene at that time. Evidently, this feeling of passing away is a profound touch of life.

如果说，这种身体的绘画，或行为的过程还局限在一张画布上。之后的工作，她开始有意识的使画面与周围的空间发生联系。（图二）画布被放在窗前，背后用木条固定在右边的墙体上。与展厅的整体空间融合成一体，好似建筑的一部分。最近她又在画布下平铺了一排木条，让我有一种想踏上去，走向画面的冲动。木条的质感温暖，而且画框也是木条制作的。这种内在的联系使我更容易把绘画看成为一个物件，而不是传统意义上的视觉表面。绘画和木条，以及它们所处的空间暗示一起，共同营造出特有的气氛。

If this kind of body painting or behavior is still confined to a canvas. Then what after that, she began to consciously work on the connections between the painting and the surrounding space. (Image- 2) The canvas is placed in front of the window and fixed on the right-side wall with wood sticks. The work is integrated into the whole exhibition space, just likea part of the architecture. Recently, she laid a row of wood sticks under the front of the canvas, which provide me an impulse to step on and walk into the painting.The texture of wood feels warm and the painting’s frame is also made of wood.This inner connection makes it easier for me to see painting as an object rather than a traditional visual surface. Painting and wood sticks, togetherwith their spatial hints, create an unique atmosphere altogether.

这一切都与另一侧的工作交相呼应。木条构建出的隔断，被分割的空间。（图三）使木框在墙面上留下一些充满诗意的投影。同时也触发她，将白胶和洁厕灵的混合物，大面积的直接涂刷在墙体上。（图四）干燥后，再有意撕开一些部分，挂在墙上，像墙体被揭起的皮肤一样。

All these echoes with the works on the other side. Apartition built by a wooden bar and a divided space. (Image-3) The wooden frame leaves some poetic projections on the wall. At the same time, it also triggers her to paint the mixture of white glue and blue toilet cleaner in large area directly on the wall. (Image-4) after drying, part of it is intentionally torn apart, hanging on the wall, like the skin of the wall is exposed.

在她创作的过程中，我一直追问创作的主题是什么？她说是“边”。几经解释和沟通，我大概理解。所谓的“边”，就是两个平面产生的夹角，会产生一条边。

她想传达的是目前对空间的理解。一开始是平面的思维，到后来把绘画当成一个物质，放到三维的空间中时，就产生两个面的关系。以此产生了对空间更为丰富理解的可能性。所以，她让绘画像建筑的一部分，在空间中存在（图一）；从开始两个素描板固定在墙体上，到以垂直的方式，竖在墙面上（图五）；再到墙体上直接涂抹材料，并有意揭起一部分，让整个墙体的平面慢慢的起来，占据三维的空间，暗示人们从平面到三维空间的转变。（图四）

During her working process, I kept asking what the theme of her project. She said it was "corner". After a few interpretations and communication, I probably understand. The so-called"corner" It is the angle between the two planes, which produces a corner.

What she wants to convey is her current understanding of the space. At first, it was a graphic thinking, and later the painting was regarded as an object to her. When she put the painting into three-dimensional space, it produced relations between two planes. This creates the possibility of a richer understanding of the space. So, she makes the painting like a part of the architecture, existing in the space(Image-1); from the beginning, two drawing boards are fixed on the wall, to the vertical way fixing on the wall (Image-5); then to the directly paint on the wall with materials, and intentionally uncover a part of it. Trying to make the whole plane of the wall slowly comes up, occupying the three-dimensional space. Which implies the transformation from plane to three-dimensional space. (Image-4).

图三、图四、图五 | Image-3,  Image-4，Image-5

以此，我们能清晰的看到，艺术家一直在跨越。从平面的思维理解绘画到把绘画当成一个物质存在；从对空间相对简单的理解到意识空间的无限可能性。不断跨越自己的认识和经验。

In this way, we can clearly see that the artist has been surmounting all the time. From the graphic thinking of a painting to treat the painting as a material existence, from the relatively simple understanding of space to the infinite possibilities of conscious space. She continues to surmount her own knowledge and experience.

总之，她的工作还在继续。我一边观看，一边期待。期待她的工作产生意想不到的惊喜。不到最后一刻，一切都在变化。

In a word, her work continues. I am watching and lookingforward to it. Awaiting unexpected surprises from her work. Everything is changing until the last moment.

——欧鸣，工作室画廊项目空间，上海

——Ou Ming, StudioGallery-Project Space, Shanghai

驻地活动现场@工作室画廊驻地空间，2018

On-site view @ Studio Gallery - Project Space, Shanghai 

Copyright © 2018 工作室画廊 StudioGallery, All rights reserved.

作品图片由工作室画廊提供｜Image courtesy of StudioGallery

作品摄影：王智乾｜Photogragher: Wang ZhiQian

往期回顾：

www.studiogallery.cn

Project Space: 101, #58, Lane350 JiangZhi Rd, MinHang Dist, Shanghai 

(Address for OPEN STUDIO)
项目空间: 上海市闵行区江栀路350弄58号101

（此次活动地址)

Gallery Space: 101,#1, Lane41 XingGuo Rd, XuHui Dist, Shanghai 

 (Installing for Opening Show)

画廊空间：上海市徐汇区兴国路41弄1号101 (开幕展筹备中)

Contact 联系方式

Tel：  [phone]
Email: [e-mail] 

项目空间 PROJECT space

画廊空间 GALLERY space