弥金GENE｜毛冠帅个展《透》现场

《透》展览现场

In Sight on viewing

展览至5月17号

Exhibited till 5.19

毛冠帅《透》

Mao Guanshuai:In Sight

文/梁霄

Author/ Liang Xiao

毛冠帅的实践是寻找和隐藏的艺术。艺术家酷爱收集动物的化石，数万年来它们被埋在黑龙江省松花江底的沙层下，如今在挖沙的机械劳作过程中被无意打捞上来。毛冠帅喜欢这些化石造型的线条，时间剥去或隐藏了旁余，只留下了这些古朴的线。最初，成千上万的线条勾勒出我们眼前的事物，历经岁月的磨炼，只有那些确凿无疑的线被保存了下来。线条是化石唯一的态度，它们对往昔神秘化，显现出历史的时空。而从千万条线中寻找到适宜的那条，这是毛冠帅工作的出发点，契合时间运行的规律，即为事物的存在寻找到恰当的时空。

Mao Guanshuai's practice is the art of finding and hiding. The artist is a fan of collecting fossils of animals that have been buried under the sand of the Songhua River in Heilongjiang Province for tens of thousands of years and have now been unwily salvaged in the process of mechanical dredging. He loves the lines of these fossil forms, the primitive lines that time have stripped away or hidden. In the beginning, there are thousands of lines that outlined what we see, and only the undoubted ones have survived the ordeal of time. Lines are the only attitude of fossils. They mystify the past, revealing the time and space of history. The starting point of Mao Guanshuai's work is to find the right one among thousands of lines, which conforms to the law of time operation, that is, to find the right space and time for the existence of things.

长者 Elder

毛冠帅 Mao Guanshuai

30x31x144.5 cm

乌金木,手工上色 Ebony,Hand-painted

2020

《透》展览现场

In Sight on viewing

“我不做具体的东西。”毛冠帅如此说道。自2013年开始接触木雕，艺术家将后者视为创作的核心媒介，首先尝试将木头用于制作一些人形和动物造型，它们当然没有体现出具体的形态。观看执著于形象为何，强化了象征和叙事的意义而忽视了材质本身，使观看的对象缺失了材质的物理特性带来的张力，这是艺术家面临的困扰。在毛冠帅最为著名的“黑色系列”中，细密而沉重的东非黑黄檀被保留了原本的深黑色，用以塑造各式各样所谓“不能在现实世界中直接被找到的实体”；构成作品的线条是艺术家在生活中寻找和打捞的结果，但创作的另一半在于隐藏，毛冠帅隐藏了那些我们理应看到的象征性的演绎，只留下了造型中那些天然而舒畅的东西，比如一朵花蕊开放的姿态，一段竹节向上生长的期盼。造型和材质这两者之间的冲突很容易使艺术陷入某种即鹿无虞的虚构，但毛冠帅的实践避免了这样的对立。在雕塑狭窄的创作维度内，造型和材质都展现出了真实的力量。

"I don't do anything specific." Said Mao. Since 2013, he began to contact wood carving, which he regarded as the core medium of his creation. First, he tried to use wood to make some human figures and animal models, which of course did not reflect specific forms. Obsessive focus on what the image is, intensifies the symbolic and narrative meaning while ignoring the material itself, so that the object to be watched lacks the tension brought by the physical characteristics of the material, which is the problem faced by the artist. In Mao's most famous "Black Series", the fine and heavy black sandalwood of East Africa is retained in its original deep black color to create a variety of "entities that cannot be directly found in the real world". The lines that make up the work are the result of the artist's search and recovery in life, but the other half of the creation lies in concealment. Mao Guanshuai hides the symbolic interpretation that we should see, leaving only those comfortable things in the shape, such as the posture of a flower opening, the expectation of a section of bamboo growing upward. The conflict between form and material can easily lead art into a kind of uncompromising fiction, but Mao's practice avoids such confrontation. Within the narrow creative dimension of sculpture, the form and material both show the true power.

死海 The Dead Sea

毛冠帅 Mao Guanshuai

110x42.5x41 cm

油楠木,手工上色 Sindora Glabra,Hand-Painted

2020

《透》展览现场

In Sight on viewing

2020年底，毛冠帅与朋友造访了苏州园林，这趟旅行激发了是次展览新作的灵感。作为“蕴秀之域”，“园林”构成了中国文化历史中“乐园”的底色，除审美价值之外，也被视为教化和启蒙的精神性场所。但毛冠帅不意在描绘任何凸显东方情调的景观，遵循在建筑、奇石与草木中寻找线条的步骤，艺术家维持一贯的“减法原则”，首先创作出一系列抛却形体的炭笔草图，并基于后者展开数十具雕塑的制作。其中，木材的重量感成为艺术家此次创作新的侧重点，大而厚实的整快木材被用以完成体积巨大的作品，它们首先提供了感官上的冲击力，其重量感将自身与艺术家的过往作品区别开来，也杜绝了沦为新生产的工业化时代装饰品的可能。目光被巨大的事物所吸引是一种观看的本能，而这让艺术家的“隐藏”变得愈加困难。我们或许可以这样认为：毛冠帅的隐藏不是一种对抗，因为真实的事物其实无处可隐。

At the end of 2020, Mao and his friends visited Suzhou gardens, a trip that inspired the new works in the exhibition. As the "domain of beauty and beauty", "garden" constitutes the background color of "paradise" in Chinese cultural history. In addition to aesthetic value, it is also regarded as a spiritual place for enlightenment and enlightenment. But Mao did not attempt to depict anything that highlighted the Oriental atmosphere. Following the steps of finding lines in buildings, stones and vegetation, the artist maintained the principle of subtraction, first creating a series of charcoal sketches that were stripped of form, and then developing dozens of sculptures based on the latter. Among them, the weight of the wood are to be an artist in the creation of new focus, large and thick the wood is used to complete the huge volume work quickly, they first provides sensory impact, its weight will distinguish from the artist's works, new production are also put an end to the era of industrialization decorations. It is an instinct to see that the eyes are attracted to huge things, which makes it more difficult for artists to "hide". We might think of it this way: the concealment of the hairy prince is not a confrontation, because the real thing has no place to hide.

沙漏 Sand Clock

毛冠帅 Mao Guanshuai

8cmx(6)

黑檀木 Ebony

2020

《透》展览现场

In Sight on viewing

通过木蜡油技法的反复试验与对木材天然裂痕的温和接纳，艺术家的新作还原了它们的洁净。数十具大小不一的雕塑或立或卧，搁浅于空间四角，自身内看向身外，在个体与群体的相对中，诞生了某种足以倾注注视的能量。贯穿雕塑正背面的孔洞在展览中形成了不同于毛冠帅以往创作的新线索，再一次的，这些手臂能够轻易穿透的洞中并没有可以隐藏的东西。相较于艺术造型上的特征，“透”的体察多在于心理方面，它是力量和约束，也是任何空间的天性，使感官经验变得饱满。

Through trial and error of wood wax techniques and a gentle acceptance of natural cracks in wood, the artist's new works restore their purity. Dozens of sculptures of different sizes, standing or lying, are stranded in the four corners of the space, looking from inside to outside. In the contrast between the individual and the group, some energy that is enough to pour into the gaze is born. The holes running through the front and back of the sculpture form a new clue in the exhibition that is different from Mao's previous work. Once again, there is nothing to hide in the holes that the arms can easily penetrate. Compared with the features of artistic modeling, "penetration" is more psychological. It is the strength and constraint, and also the nature of any space, which makes the sensory experience full.

《透》展览现场

In Sight on viewing

左：洞 Hole,毛冠帅 Mao Guanshuai,

53x65x120 cm,油楠木,手工上色 Sindora Glabra,Hand-Painted,2021

右：巢穴 Nest,毛冠帅 Mao Guanshuai,

50x42.5x161 cm,油楠木,手工上色 Sindora Glabra,Hand-Painted,2021

木雕独特的“民艺”属性也是毛冠帅所珍视和试图发展的特质，这为作品赋予“手”的感觉。他选择与信任的木匠保持长期合作，也将后者的经验融入自身的创作。2016年，毛冠帅与日本漆艺师赤木明登结缘，在“民艺”的范畴内更进一步钻研了工艺的融合和进化。柳宗悦认为：“美不应该是一种由视觉引发的感官判断，而应该是与人的生活相契合的谐调。”毛冠帅试图展现的正是“谐调”的本质所在。这样的艺术不代表一种审美上的征服，而是在生活吐纳万物的过程中，凝结隐藏和寻找交汇的瞬间。

The unique "folk art" attribute of wood carving is also something that Mao Guanshuai cherishes and tries to develop, which gives the work a "hand" feeling. He chose to work with trusted carpenters for a long time and to incorporate their experience into his own work. In 2016, Mao Guanshuai became attached to Japanese lacquer artist Akagi Aoyama, and further studied the integration and evolution of craftsmanship within the category of "folk art". Liu Zongyue believes: "Beauty should not be a sensory judgment caused by vision, but should be in harmony with people's life." It is the essence of "harmony" that Mao Guanshuai is trying to show. Such art does not represent an aesthetic conquest, but condenses, hides and seeks the moment of convergence in the process of absorbing everything in life.

《透》展览现场In Sight on viewing

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关于艺术家 About the Artist
毛冠帅在工作室Mao in his StudioM
毛冠帅，1993年出生于中国宁波，现居上海。自2013年始以木为主要材料进行创作。为了配合木材与众不同的迷人质感，创造更为纯粹体现事物内在气息的作品，毛冠帅开始在日常的思考与感知状态下，深发创作无法在现实世界中直接被找到的形体。其作品强调个体的精神性表达，作品语言既保留原始性又充满当代感。
在接近十年的过程中，他将当代都市生活赋予年轻人的丰富刺激与蓬发灵感，转换、沉淀，成为木作的诸多形态的故事性来源。他奉行“风行水上”的工艺处理方式，手对木的销除、抛光，令其作品经历着艺术性的“风化”获得了柔软的肌肤质感，通过此种形态引导了光对作品的二次诠释。他并未停滞于此，通过抽象与节奏感，继续寻求世界中难觅的“根骨”。
近期展览：上海弥金画廊个展《透》（2021）、苏州沧浪亭群展《无语看波澜》(2020)、深圳美术馆群展《六月风象》(2019)、 上海唐妮诗画廊群展《绘之手》(2019)
Mao Guanshuai, Born in Ningbo in 1993, now lives in Shanghai. Since 2013, Mao has used wood as his main material for his works. To match the unique and charming texture of wood, and create works that purely reflect the inner beauty of things, Mao has begun to create in a forms that could not be found directly in the real world through daily thinking and perception. His works emphasize individual spiritual expression, and meanwhile express originality and contemporariness.
In the past decade, he has transformed and precipitated the rich stimulation and inspiration of contemporary urban life to young audience into the source of stories to form his woodwork. He pursues art in the naturalist way: using his own hand to craft and polish wood, thus his works wears an artistic and skin-soft texture, which the form re-interprets the works via light. He continues his creation to search the principle of his wood world through rhythmic abstraction. 
Recent exhibition:In Sight (2021) – Gene Gallery, Shanghai；As Time Goes By (2020) – Cang Lang Ting (The Surging Wave Pavilion) & Ke Yuan, Suzhou；Poetry of the Wind (2019) – Shenzhen Art Museum, Shenzhen；The Drawing Hand (2019) – Danysz Gallery, Shanghai.

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五一假期闭馆告知

May Day Closed Notification

弥金画廊将于5月1日(周六)至5月5日(周三)五一劳动节期间闭馆。于5月6日(周四)起恢复开放。

Gene Gallery will be closed from May 1st to May 5th during Labour Day, and will open to the public since May 6th.

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往期回顾 LOOKING BACK：    

	展览预告 | 毛冠帅个展《透》
	弥金GENE | BFC艺术季现场｜第三周

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