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因赛艺术 | 曾健勇广东个展：笔居心后

因赛艺术 2021-02-05

笔居心后：曾健勇的水墨世界

艺术家：曾健勇

策展人：王绍强

开幕：2019/09/21（周六），16:00

展期：2019/09/21 – 2019/12/15

地点：学有缉熙

地址：广州市天河区黄埔大道西668号跑马场北广场恒辉润商行3楼

开放时间：10am – 19pm（周一及法定假日当天闭馆）

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笔居心后：曾健勇的水墨世界

Brush of The Soul: Zeng Jianyong’s Ink World

文/王绍强

by Wang Shaoqiang

初看曾健勇的画作，你会瞬间被一双如水般清澈的眼眸所吸引——在他许多以儿童为主角的肖像画中，都有这样的形象：看起来乖巧的小人儿直勾勾地注视着画外，让观者心生怜悯与同情。他们却面无表情，甚至带有一种与年龄不符的漠然。或许提及儿童肖像画，我们多是想到诸如雷诺兹《鲍尔斯小姐和她的狗》这类天真浪漫、无忧无虑的形象，大概这是最常见的儿童特征，是一种普遍认识。然而，曾健勇却不仅限于此，而是选择表现出儿童世界的不安与自我怀疑。在他的画面中所渗透出的情绪上的忧伤，似乎并不属于画中人，而是属于作者本身。他借这些角色，表达出一种少年心性般的诗意感。在当代艺术的语境中，艺术家们或许有一种孩子气，他们可以“任性”地退回到自我世界中去，专注于自己的表现手法，专注于自我的个人表达，就像诗人一样，将脑海中的无论是童年幻想还是现实批判，通通付诸于画作之上。艺术家无疑是以图像替代文字的诗人，他们总是在寻觅更多的可能性，正如曾健勇。

冒险的心情掠过山岗

180x360cm

2019年

诸野·聚灵

144x346cm

2019年

When you take the first look at Zeng Jianyong’s paintings, you will instantly be attracted by a pair of limpid eyes — in many of his portraits featuring children, there are such images that seemingly lovable little people staring straight out of the frame, which fills the viewers’ hearts with compassion and sympathy. Yet they are expressionless, even with a sense of indifference inconsistent with their age. When talking about children portraits, perhaps we will think of those innocent, romantic, carefree and lighthearted images such as Miss Bowles and Her Dog by Sir Joshua Reynolds, which may be the most common characteristics of a child and a kind of universal recognition. However, Zeng Jianyong is not limited to this, but he chooses to show the uneasiness and self-doubt in children’s world. The emotional distress is penetrated seemingly from the painter himself instead of the person in the painting. He uses these characters to present a poetical sense of youth. In the context of contemporary art, artists may show a kind of childishness. Just like a poet, they can be “willful” and retreat to their self-world, focusing on their own technique of presentation and personal expression, pouring everything in their minds onto the paintings, no matter it is their childhood fantasy or criticism in reality. Artists are undoubtedly poets who replace words with images. They are always seeking for more possibilities, just like Zeng Jianyong.

檐下路过行吟者

宽12米

水墨综合材料

2019年

诸野·后院

120x120cm、D65cm

2019年

花袜子

152x36x29cm

2019年

王

纸浆水墨上色

33H x 25W x 18Dcm

2018年

后

纸浆水墨上色

30H x 24W x 16Dcm

2018年

作为一名潮汕艺术家，曾健勇在其弱冠之年便只身前往北京，像彼时许多年轻人一般，成为北漂一族。二十世纪九十年代，经历过八十年代的快速推进，中国的当代艺术迎来了多元而个性化的时期。首都北京成为年轻艺术家心中的最高殿堂，吸引着一波又一波的新生血液。生活环境的改变，迫使曾健勇寻求生存上及创作上的自我价值。他骨子中潮汕传统文化的血脉与当时全球化视野发生了冲击和交融，由此形成了独特的视觉语言。纵观曾健勇的创作历程，在儿童肖像画“大队长”、“少年时代”系列受到一致肯定时，他也逐渐形成了具有辨识度的个人风格，但是他并非裹足不前，而是从题材、构图、媒介等方面不断地探索新的表现方式。2011年，“格物图集”系列出现了魔幻故事中的“恶龙”般的怪诞图像，在新作《冒险的心情掠过山岗》中，他将这种怪诞题材运用到新山水画的创作中去，增添了具有神秘感的宗教色彩。曾健勇从一开始创作便建立了独具个人特色的绘画语言，斑驳的肌理感他在碰撞纸张与墨彩后的发明，而后，他又开始探索纸、墨这些传统认识上的二维创作媒介在三维作品上的可能性，于是我们看到了《后》《王》等作品。

鸣涧图

高23cm

2019年

松石图

高51cm

2019年

听水图

高15cm

2019年

溪山图

高31cm

2019年

Born in Chaozhou and Shantou region, Zeng Jianyong has moved to Beijing on his own since his twenties, just like many other young people at that time, and became one of the Beijing drifters. In the 1990s, Chinese contemporary art started an age of diversity and personalization after the rapid advance of the 1980s. Beijing, the capital, became the most glorious palace of art in the hearts of young artists, attracting waves of new blood. Changes of the living environment forced Zeng Jianyong to seek for his self-worth in life and art creation. The traditional Chaoshan culture flowing in his blood was impacted and integrated with the contemporary global perspective at that time, thus forming a unique kind of visual language. Throughout Zeng Jianyong’s history of creation, he gradually formed his recognizable personal style when his children portrait series, The Header and Childhood Days, were unanimously praised. But he did not hesitate to move forward, he kept continuous exploration of new ways of expression from the aspects of subject, composition, and medium etc. In 2011, grotesque images that looked like the “evil dragon” in fantasy stories appeared in the “Gewu (investigation of things) Atlas” series. And he then applied the grotesque subject matter to the creation of new landscape painting in his new work Skimming over Hills with Adventurous Spirit, adding a mysterious sense of religious color. From the beginning of art creation, Zeng Jianyong had established his unique personal painting language. The mottled texture is his invention out of the collision between paper and grisaille painting, after which he started on exploring the possibility of applying traditional 2D medium, such as paper and ink, onto the creation of 3D works. Hence works such as The Queen and The King are here for us.

翻页

144x74cm

2019年

山人

35x40cm

2019年

诸野之澄

144 x 74cm

2019年

诸野之翠

180 x 95cm

2018年

用水墨这一传统媒介作为创作语言的曾健勇，说他的创作灵感往往始于快速涂鸦的草图，就像《王》这一作品，将所有的思想情绪蕴藏于水墨语言之下，再探寻其他的表现形式。曾健勇曾语，《寒食帖》《兰亭序》《祭侄稿》这三大行书，因其情感饱满、随心而行的特点，让他赞赏不已。他认为，像心适意的事物最能反映创作者的内心，下意识的创作反而更能调动创作者的所有经验。书画本同源，本次展览以“笔居心后”作为主题，此语借自《晋王羲之书论四篇》：“必须坐书静思，令意在笔前，笔居心后。未作之始，结思成矣。”以心为指引，以画笔为媒介，随心而为，正是建构起曾健勇耐人寻味的水墨世界的初衷。

诸野之黛

90 x 50cm

2019年

诸野之壑

180 x 95cm

2019年

Using the traditional medium, ink, as a creative language, Zeng Jianyong mentioned that his creative inspiration often came from the scribbling sketches. Taking The King as an example, all the thoughts and sentiments were first contained within the ink language, and were then presented by other ways of expressions. According to Zeng Jianyong, he appreciates immensely the three most famous calligraphic works of running hand script, The Cold Food Observance, The Orchid Pavilion, and The Requiem to My Nephew, for the characteristics of emotional richness and following the calligraphers’ hearts and passion. In his perspective, things created at one’s own will are the best to reflect the creator’s soul, therefore creation under subconsciousness can better mobilize all the experience of the painter. As painting shares the same origin with calligraphy, the exhibition is held with the theme “Brush of The Soul” that derives from The Four Volumes of Wang Xizhi’s Calligraphy Theory in the Jin Dynasty: “You must sit still and contemplate. Think before you write, and the brush goes following your mind. All should be composed before you make the first stroke”. Follow your heart and paint with your brush, and this is the original intention to build Zeng Jianyong’s thought-provoking world of ink.

诸野之间

180 x 95cm

2019年

诸野之见

144 x 74cm

2019年

曾健勇在北京、香港、上海乃至美国多个城市都举办过个展，但在他的故乡——广东地区举办个展，此次还属第一回。对于潮汕人来说，“返乡”一词似乎带有更加不同的情感含义。所以此次展览的意义举足轻重，就像曾健勇交予故里的一封家书，也为广东民众了解他开启了一道窗口。

诸野之临

144 x 74cm

2019年

诸野之去

90 x 50cm

2019年

Zeng Jianyong has held solo exhibitions in Beijing, Hong Kong, Shanghai, and even several cities in the US, but it is the first time that he has a solo exhibition in his hometown, Guangdong. For the Chaoshan people, the word “homecoming” contains more different meanings of emotion. Therefore, the exhibition bears a great significance to Zeng Jianyong. It is like his letter to the hometown, and a window opened for the Guangdong people to know more about him.

2019年8月

曾健勇

1971年11月出生于广东澄海

1994毕业于国立华侨大学艺术系中国画专业

1995结业于中央美术学院版画助教进修班

现工作生活于北京

主要个展

2018 “诸野” 三清上艺术中心，杭州

2017 “戏法” 索卡艺术，北京

2016 “编年史” 東京画廊＋BTAP，北京

2015 “应许之地” 索卡艺术，台北，台湾

“遗失之地” 東京画廊＋BTAP，东京，日本