沐浴者 Bathers
展览照片 Exhibition view
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个人展览 Solo Exhibition

展期 Opening
06/17/2023 06/17/2023
策展 Curator
Zoey Zhao Zoey Zhao
女性形态不再是欲望的客体,而是作为主体本身面对欲望的主动性表达。以本体的形式再现欲 望体现在创作方式的转变:画布从单纯被使用成为创作者感受的本身;通过材料的拼贴触发式 创作;材料的叠加与抽象化底色将观众的视觉留在并非表面,也非底层,而是交互之间生成的 视觉夹层,一种主动地引领。

内容上,景观文化中的符号被用作即刻吸引观者的注意力线索,与色彩一同唤起观者的立体感 官。 这些触发的符号是生物,⻝物,人体的局部,女性身份的某种象征性文化元素,或是代表 性的抽象形状。这时的女性形态是假装示弱的客体;当视线从这些符号圈定的局部转移到画面 的全部,重构的动态空间此时打散刚刚的注意力而陷入画面复合型的故事场景,以此完成凝视 关系中的权力交接,引导观众重新审视主观性别意识的权力界线。最终的女性形态是再现欲望 本身的主体。

这一系列作品在于感受新的层次,包含抒发和宣泄,燥热和局促的同时,暧昧和记忆感的萦绕 在陈维佳的“戏剧”之中开始被允许。 近期创作横幅的作品,陈维佳开始更加选择性的控制自己 的镜头,跨越过于具象的痕迹,逐渐引出一种跨时空的情绪对话。
The female form is no longer the object of desire, but an active expression of the subject itself in the face of desire. The desire to reproduce in the form of ontology is reflected in the transformation of the creation method: canvas has been integrated into the creator's feelings, rather than simply being used as a material; collage triggers and leads creation; a visual interlayer between interactions, a kind of active leading, is generated by the juxtaposition of materials and the abstractness of background color.

Landscape culture symbols are used as clues to immediately grab the viewer's attention, and together with the colors, they create a sense of three-dimensionality in the viewer's mind. In addition to creatures, food, and parts of the human body, certain symbolic cultural elements of female identity, or representative abstract shapes can trigger the story. At this time, the female form is pretending, weakening, as an object; when the line of sight shifts from the parts delimited by these symbols to the whole picture, the reconstructed dynamic space breaks up the attention just now and falls into the complex story scene within the picture, handing over the power in a gaze.

Audiences are invited to reexamine the boundaries of subjective gender awareness as a result of the process. As a final point, the female form is the subject that represents desire itself.
This series of works reveals a new layer of Chen's work, where not only direct expression and catharsis, but ambiguity and memory are beginning to be incorporated into her "drama". Recently, Chen Weijia has begun controlling her lens more selectively, fuzzed up the concrete traces and gradually eliciting an emotional dialogue across space and time.
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。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); 第四届宝⻰艺术大奖“美丽家园”,宝⻰美术馆,上海(2021) Chen Weijia (b.1993) was born in Wuhan, Hubei. She graduated from the China Academy of Art with a bachelor's degree in 2015. She currently lives and works in Hangzhou. Solo exhibition: "Layer After Layer", LPS Local Park, Guangzhou (2021); "The Time of Sojourn", Mige Space, Hangzhou (2017) Group exhibition: "'Midsummer Light Years' Invitational Exhibition of the New Generation of Chinese Contemporary Painting", Manjinghua Art Museum, Shenzhen (2022); "A Midsummer Night's Dream", Yantang x Kuiyuan Joint Space, Shanghai (2022); "And Today - Poly Academy Star Contemporary Art Exhibition", Time Museum, Beijing ( 2022); "'Looking at this age alone' The 6th Stellardemia Contemporary Art Exhibition", Poly Art Museum, Beijing (2022); The 4th Powerlong Art Award "Beautiful Homeland", Powerlong Art Museum, Shanghai (2021)

陈维佳 Chen Weijia