艺术家｜对话艺术家陈维佳
陈维佳个展“沐浴者”展览现场 The installation view of Bathers
Courtesy of BLANKgallery
步入初夏，BLANKgallery欣然呈现代理新锐艺术家陈维佳的个人展览: 沐浴者。
陈维佳的作品杂糅了绘画和实验动画的创作经验，创造出超情境的场域。利用不完整的图像残片，通过巧妙并置呈现出神奇的增殖力量，使作品兼具影像的叙事感和画面的语言性，从而在绘画和影像的边缘地带寻找到了一个全新而独特的空间。新系列的作品围绕对于女性生命体验的探索，尝试打破视域界限，延伸表达对于人文和时空异动的思考。
展览将持续到2023年7月17日。
陈维佳 Chen Weijia
“我开始感到我和画布关系的改变，从一种画布被我使用而更加变成一种把画布当成我的生命一部分，以这样的初衷去呈现的时候，感觉就发生了改变。”
也是生命与安全感的命题。另外大部分时候或者说一直，我觉得人都不会“着陆”，不只是女性，也许是每个人。但艺术对于我来说是可以“着陆”的唯一方式，我觉得很有幸!
像我之前看到一位国外女性艺术家没有自己的 studio，我不记得名字了，她就在厨房里画画。 这次展出的作品会出现符号比如八角，百香果。我会在厨房里有一种观感。 创作的时候会被意识引导，就自然使用了。
陈维佳 Chen Weijia
北极光下的狂欢，Carnival Under the Northern Lights
2021, 布面丙烯,综合材料 Acrylic on canvas, mixed media, 160cm ×110cm
陈维佳个展“沐浴者”展览现场 The installation view of Bathers
Courtesy of BLANKgallery
Z: 新的作品画面仍然有你自己戏剧性的感觉，但不再是一种过于话剧感和舞台感的创作。 去年今年的作品在逐渐跨越这种痕迹，而是更深入到去萃取一个念头，更加抽象?
C: 以后的作品方向会更多的希望可以留空，找到更精准的质感。减少一些“欲望”去呈现欲望。
始终希望我的作品在国内的艺术语境里可以有我自己方式，不是为所谓女权呼吁大家站队，而是我对自 己生活经历的回应，如果是男性艺术家未必做得到的事。
陈维佳 Chen Weijia
水母灯，Jellylamp
2021, 布面丙烯,综合材料 Acrylic on canvas, mixed media, 90×65cm
陈维佳 Chen Weijia
沐浴者，Bathers
2022, 布面丙烯,综合材料 Acrylic on canvas, mixed media, 36×36cm
陈维佳个展“沐浴者”展览现场 The installation view of Bathers
Courtesy of BLANKgallery
陈维佳 Chen Weijia
圈与线，Circle and Line
2022, 布面丙烯,综合材料 Acrylic on canvas, mixed media, 32×42cm
陈维佳个展“沐浴者”展览现场 The installation view of Bathers
Courtesy of BLANKgallery
Z: 除了“原始”，“异域”也是你想要所创作的空间。
Z: 我们再来看看你的作品中另外有趣的一部分和层次，这次横幅的作品。这是你预设的一种镜头从左到右推移，并且其中有关人的身份忽隐忽现。
C: "模糊的脸的颂歌"。这张作品从创作来讲，有些艺术家会把电影镜头画下来继而去照着进行自己的创作发挥，但我不会这样。实验动画具体经验启发了我在头脑中预设类似电影的长镜头画幅。这其中会因为并 置，不同的符号会互相对比，视觉交流之间也是我想促进的一种对于人文的思考。
从内容，这张作品有意放置了女孩的不同阶段，各个阶段悬浮的情绪感，从荡秋千到出嫁不同身份角色 感凝聚到时空的一瞬间。
陈维佳 Chen Weijia
模糊的脸的颂歌，The Ode to Blurred Face
2023, 布面丙烯,综合材料 Acrylic on canvas, mixed media, 120×200cm
Courtesy of BLANKgallery
陈维佳个展“沐浴者”展览现场 The installation view of Bathers
Courtesy of BLANKgallery
关于艺术家
陈维佳 Chen Weijia Courtesy of BLANKgallery
陈维佳(b.1993)生于湖北武汉, 2015年毕业于中国美术学院获学士学位, 现生活工作于杭州。
近年主要展览经历包括: 个展：“叠梦蛹”，LPS在地公园，广州(2021); “寄居的时光”，米格空间，杭州 (2017); 群展：“‘盛夏光年’中国当代绘画新生代邀请展”，满京华美术馆，深圳(2022); “仲夏夜之梦”，眼糖 x 逵园联合空间，上海(2022); “还有今朝——保利学院之星当代艺术展”，时间博物馆，北京(2022); “‘看今朝’第六届保利学院之星当代艺术展”，保利艺术博物馆，北京(2022); 第四届宝龙艺术大奖“美丽家园”，宝龙美术馆，上海(2021)
Z: I was reading through the documentation of your work, especially the text section of the 22 years of paintings (the small painting series in the exhibition), and there is a line in your handwritten notes: How I wish we could become a melting block of ice and land safely. What kind of clue is "landing" in the work?
C: This passage and a series of works are related to something I experienced at that time. Suddenly, I realized for a moment that my sincerity in art could not be put into life, and the difference that people and things brought me.
It is also the proposition of life and security. Also, most of the time or all the time, I think people don't "land", not just women, but maybe everyone. But art is the only way for me to "land", and I feel very fortunate!
Z: Do your creations come more from life, or are they more of an overhead imagination in your consciousness?
C: My work comes from life, it has to come from life. Or it's who I am. I find that women always have a lot of roles on their hands. There is a certain overlap between the preparation process of painting and the cooking process for me.
For example, I saw a foreign female artist who didn't have her own studio, I can't remember the name, but she painted in the kitchen. The works in this exhibition will show symbols such as anise and passion fruit. I will have a sense of view in the kitchen. I would be guided by my consciousness when I was creating, and I would use them naturally.
Z: The new images still have your own sense of drama, but they are no longer overly theatrical or staged. Last year's and this year's works are gradually crossing this kind of traces, but going deeper to extract a thought, more abstract?
C: In the future, I hope to leave more space in my work and find a more precise texture. To reduce the "desire" to present desire.
Z: Is it forbidden to explore "desire"?
C: Maybe not when it's straightforward, but when it's not, it's easy to become tasteless.
I always hope that my works can have my own way in the domestic art context, not to appeal to people to take sides for so-called feminism, but to respond to my own life experience, something that male artists may not be able to do.
Z: When I collected the works, there was one that seemed to fit in with the whole series but was different.
C: "Jellyfish Lamp" was actually the first one in the series, so it was a little bit raw. From this one, I started to feel a change in my relationship with the canvas, from a kind of canvas being used by me to a kind of canvas as part of my life, and when I present it with such an initial intention, the feeling changed. So my subsequent works became more abstract and more integrated with my feelings.
Z: Bathing is a very interesting scene, an influential scene in art history, and your works also give the viewer a direct and drenching feeling to bathe in the scene.
C: The atmosphere of this work is intentionally ambiguous in terms of the definition of gender. The act of human bathing, the air pressure of dragonflies flying low, and the presence of other creatures in the scene. The human presence is a contemporary image, but the integration of creatures is a kind of archaeology, in addition to the crowded intimate space, there will be a kind of compressed time and space thinking.
Z: Another work that you mentioned incorporates some primitive and maternal thoughts is "Circle and Line", a small work.
C: The circle and the line, the circle itself is like an attraction of desire. This work is inspired by a primitive action, such as a child sucking its thumb, in an instinctive way of dependence and seeking security, like the circle and the thread.
Z: In addition to the "primitive", the "exotic" is also the space you want to create.
C: Yes, a sense of otherness brought about by the dynamics of space and time. For example, the mirror piece. The core of this work is actually a candle. Inspired by Richter's candles from the 80's, I wanted to add my own "industrial feel" and re-express the dynamics that I am so good at. There is also a sense of movement, of being alive and inanimate, of questioning the state of activation.
Z: Let's take a look at another interesting part and layer of your work, this time the banner work. It's a kind of pre-determined shot that you've taken from left to right, and in which the identity of the person in question appears and disappears.
C: An ode to the blurred face. In terms of creating this work, some artists would draw film footage and then go on to create their own interpretation of it, but I don't do that. The specific experience of experimental animation has inspired me to pre-determine in my mind the length of a film-like shot. The juxtaposition, the contrast between different symbols, and the visual exchange is also a reflection on humanism that I want to promote.
In terms of content, this work intentionally places the different stages of the girl's life, the suspended emotions of each stage, from the swing to the wedding, the different identities and roles of the girl, into a moment of time and space.
About Artist
Chen Weijia
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