展览 Exhibition | 石佳韵：悠游 Shi Jiayun: Wanderlust
石佳韵
Shi Jiayun
悠游
Wanderlust
展览时间：2023年5月6日至6月10日
周二至周六 | 10:00–18:00
开幕时间：2023年5月6日，星期六，下午3至6时
Duration: May 6–June 10, 2023
Tuesday–Saturday | 10:00–18:00
Opening: Saturday, May 6, 3–6 PM
上海市黄浦区云南南路261号6楼
6F, No.261 S. Yunnan Rd., Huangpu Dist., Shanghai
关于展览
About the Exhibition
Gallery Vacancy荣幸地宣布石佳韵于画廊的第二次个展“悠游”将于2023年5月6日至6月10日展出。这次展览并呈艺术家近年来的绘画创作，将取自网络及平日拍摄的女子形象，透过石佳韵对于场景的观察，以具象绘画的形式穿插在其它更倾向于抽象描绘的几何色块元素之中，在不同作品之间形成内在视觉关联的对话。
对日常经验的观察与回忆，对于艺术家来说成为视觉与感知汇集交错最好的起点。树丛的剪影、斑驳的墙体、缠绕的电线，或是草坪上的藩篱、弯折的木板、工作室墙面上意外留下的颜料痕迹等，经常成为石佳韵在画面起始时临摹的对象。透过对细节的观察，她将事物在物理世界的样貌，转译并从纯粹的视觉形式中单独提取出来，转而构建其在意识知觉中更广阔的样貌。在二维平面上的工作过程中，艺术家倾向依循绘画自身的逻辑；而在材料物质经验的载体上，石佳韵则透过对于曾经既有的、已给定的语境进行拆解，最终借由语言符号初始状态中那些可变的元素（mutable components）将画面推向一片未能事先预见的即抽离又亲密的风景。
在《木纹 #7》（2022）中，绿色调的木纹与黑色平涂，乃至于高光部分间的处理，可以看到石佳韵对边缘的细致描绘和突破维度的构建，让空间和时间在画面上结合出超出现实关系结构的可能，因此留白与涂抹般的色彩，孰在上孰在下？交叠中的肌理与平滑的局部在相互渗透吗？许多值得玩味的问题都在艺术家对画面的处理中产生，她会进一步在网络中找寻出心目中最为贴合《木纹 #7》的图片，创作出《沉思 #4》（2023）与之并置，在她看来，女主角鬓角的卷发与作品中间的卷形空间产生了颇为紧密的视觉关联，而就在艺术家最初创作抽象作品时，木纹边缘处理就来源于毛发的质感和意象。
这种有趣的闭合在“悠游”中随处可见，令人想到索绪尔以河流来比喻语言，在川流不息的过程中会产生大大小小的变化，但无损于原则本身。“但是我却分辨出河床上的河流运动与河床本身的移动；虽然两者之间没有什么明显的界限。”维特根斯坦以相似的比喻揭示着边缘的模糊，在石佳韵所创作的语言符号系统中亦有着类似的内在关联。如果说作品在展厅中“被看见”表达了艺术家创作过程中的感知凝结和观众瞬间的感官反馈，将其“看作什么”则需要体现不同语言环境中的不同用法。
在“悠游”中，展览不仅借助两个汉字相近的读音去呼应作品之间的关系，也在语意层面集结了意识和身体层面不同状态的“漫游”。石佳韵并未停留于让自己的创作凝固于画面即止，而是以自己的抽象创作为新的起点，主动在网络上寻找能与抽象作品产生连接的图片，并将其化为具象的画作，在现场给出一个明确的、可思考的通路。就像保罗·莱文森所说，一种媒介“不但能够复制现实，而且要能够以富有想象力的方式重组现实”才会有机会完成由镜子向艺术的转化。“悠游”中的作品在展出时即已发生了一种不可逆转的弥散。即便创作者的主体经验难以被完全复制，但滑落在个人意识和记忆缝隙间的碎片，已经在此开始建立起感知和认知层面的共识，进而让人们唤起或触发一系列的联想、想象，甚至是回忆。
文/贺潇
Gallery Vacancy is pleased to announce Shi Jiayun's second solo exhibition with the gallery, Wanderlust, on view from May 6 to June 10, 2023. This exhibition showcases the artist’s recent painting series. Through meticulous observations of mundane and fictional scenes and settings, Shi interweaves female images sourced from the internet and the quotidian with abstract geometric elements, creating dialogues between different works through inner visual connections.
The observations and recollections of daily experiences become the best starting point for the artist to converge and intertwine vision and perception. The silhouettes of trees, dappled walls, tangled wires, fences on the lawn, bent planks, and accidental traces of paint on the studio walls are often the subjects Shi delineates as the prototype in her paintings. Through the investigation of minutiae, she translates and distills the appearance of things from the physical world into their purely visual forms, successively constructing a more expansive manifestation in consciousness and perception. In the process of working on the two-dimensional surface, the artist tends to follow the logic of painting itself, while dismantling the existing and defined contexts on the carrier of material experience, ultimately pushing the imagery towards an unpredictable landscape of detachment and intimacy through mutable components in the primary state of linguistic symbols.
In Wood Grain #7 (2022), the green-toned wood grain and black flat color blocks, as well as the delicate treatment of highlights reveal Shi’s attentive depiction of edges and courageous attempt to reconstruct and breakthrough the rims of dimensions; this allows the integration of time and space, raising the possibility of new relationships and structures that goes beyond reality: For the negative spaces and color patches, which is above and which is below? Are the overlapping textures interpenetrating the smooth surface? Many thought-provoking questions arise from the artist’s engagement with the image. Shi further searches for imagery on the internet that speaks to Wood Grain #7 in her mind; therefore, introduces Pondering #4 (2023) to be placed in conjunction. In her view, the female figure’s curly hair on her temple forges a complementary visual connection with the spiral forms central to the previous work’s composition. Coincidentally, the artist’s fuzzy approach to the wooden edges is actually derived from the texture and symbol of hair, which happens to be one of the early inspirations from her abstract painting making.
The intriguing interconnectedness pervasive throughout Wanderlust brings to mind Ferdinand de Saussure's comparison of language to a river, in which numerous changes happen continuously yet the basic principles remain intact. Ludwig Wittgenstein similarly illustrates the blurry boundaries with a similar metaphor, stating “I distinguish between the movement of the waters on the river-bed and the shift of the bed itself; though there is not a sharp division of the one from the other.” Within the symbolic language system created by Shi, exists similar internal connections. While the artist’s perceptual condensation in her creative process and viewers’ sensory experience are “seen” through the artworks, what the works are “seen as” relies on their interpretive framework and contexts.
The exhibition title, Wanderlust, employs the phonetic similarity between two Chinese characters to echo the close relationship among the works on a semantic level, and to gather various conscious and physical states of wandering. Shi does not seal her creation on the painted surface, instead, treating her abstraction as an entrance to actively trace images from the internet that could connect with abstract works and represent them on canvas, providing a clear and reflective path throughout the exhibition. As Paul Levinson says, a medium should not only replicate reality, but also recombine reality in imaginative ways in order to transform imaging into art. The works exhibited in Wanderlust achieve an irreversible journey of diffusing. Even though the artist's subjective experience can’t be fully replicated, the visual fragments that slip between the gaps of individual consciousness and memory have started to establish a cognitive and perceptive consensus and thereby triggering a series association, imagination, and even recollection among viewers.
Text by Fiona He
石佳韵，1992年出⽣于中国重庆，现工作、⽣活于上海。石佳韵于2014年获得四川美术学院油画系学⼠学位，并于2019年获得纽约视觉艺术学院硕⼠学位。石佳韵在光晕的变化之间，标注了现实事物倚赖视觉再现的分歧与多义性。石佳韵的作品建立在一种不确定性之上，她的主题可以是图像、物体、亦或是出于其⾃身的单纯想象。艺术家以一种克制且内省的方式描绘超越其实际经验之上的感受。最引人入胜的是深植于其作品中那股迫切的冲动—一种解放的宣⾔，一种对情绪持续调节，控制，批判的过程。她的个展包括：“悠游”，Gallery Vacancy，上海，2023；“对窗”，Gallery Vacancy，上海，2019；“趋近”，今格空间，北京，2017；和“偶然/必然”，G1 Gallery，上海，2014。她的作品曾展于：LINSEED Projects，上海；千高原艺术空间，成都；Eli Klein Gallery，纽约；J: Gallery，上海；及没顶画廊，上海。
Shi Jiayun, born in Chongqing, China in 1992, now lives and works in Shanghai. She received BFA from Sichuan Fine Arts Institute in 2014 and MFA from the School of Visual Arts, New York in 2019. The works of Shi mark the diversion and diversification of painted images that become visible in the illusionary representational reality. Regardless of the uncertainty of her subject as an image, an object, or pure imagination, Shi composes in a restrained and introverted way that is in relation to forms beyond her immediate experiences. The most intriguing part may be the imminent impulsions embedded in her works as they manifest a feeling of liberation while constituting a constant process of emotional adjustment, control, and judgment. Her solo exhibitions include: Wanderlust, Gallery Vacancy, Shanghai, 2023; Frames Without Rims, Gallery Vacancy, Shanghai, 2019; Getting Closer to Painting, Ginkgo Space, Beijing, 2017; and Accidental & Inevitable, G1 Gallery, Shanghai, 2014. Her works have been featured at LINSEED Projects, Shanghai; A Thousand Plateaus Art Space, Chengdu; Eli Klein Gallery, New York; J: Gallery, Shanghai; and MadeIn Gallery, Shanghai.
V A C A N C Y
周二–周六
Tuesday to Saturday | 10:00–18:00
200021 上海市黄浦区云南南路261号6楼
6F, No.261 S. Yunnan Rd., Shanghai 200021
+86-(0)21-62411239
info@galleryvacancy.com
www.galleryvacancy.com