邱锡鹏作品中古典与当代的链接来自于创作的材料源头。曾经环境艺术设计的专业使得邱锡鹏对于自然材料有独特的创作意识与表达冲动。善于就地取材,将大自然中的色料加以制作成绘画颜料,这一过程让绘画的过程本身更具制作感,而自然颜料为作品添加了一种炼金术般的过程。结合古典坦培拉技法在泥土基底的木板上进行创作, 沙砾塑造的不规则边缘,作品本身仿佛壁墙上的一部分,单独成立时却更像巨大拼图中的一块碎片,引发观众追溯的欲望和情绪的触动。
The fusion of classical and contemporary elements in Qiu Xipeng's artworks originates from his choice of materials. Drawing from his background in environmental art design, Qiu possesses a unique ability to harness natural materials for his expressions. He adeptly sources local elements and transforms them into pigments, infusing the painting process with more meaning of creating. The use of natural pigments adds an alchemical touch to his works, complemented by the classical Tempera technique applied on wooden panels with a soil base. The resulting irregular edges, shaped by gravel, resembling fragments of a larger mural. Standing alone, they evoke a sense of being part of a grand puzzle, stirring the audience's emotions and inviting them to delve deeper into the narrative.
展览也试图展现邱锡鹏作品中探索搭建出的各种维度。蓝眼泪,取自米开朗基罗为西斯廷礼拜堂绘制的壁画局部,Giotto-呐喊,折叠的脸等作品为艺术家对于古典绘画形象的再演绎; 住在眼睛里的人,眸,更加突出了画面的搭建和超现实的荒诞; 云履,不仅在颜料方面展现更强烈的色彩对比,还通过嵌在实木中重新还原一种类似壁画的位置感,但整体却以更加当代的语言呈现出来。
将画作看为故事的片段未免有些简单,邱锡鹏作品的吸引力在于绘画中更神秘的一部分,定格呐喊的情绪和如谜的沉默瞬间,用艺术家自己的语言,是古典,当代,没有主义的绘画作品。
The exhibition aims to showcase the diverse dimensions explored and constructed within Qiu Xipeng's oeuvre. Pieces like "Blue Tears," inspired by Michelangelo's mural in the Sistine Chapel, and "Giotto-Shout" and "The Folded Face," reinterpret classical painting motifs. Meanwhile, works such as "A Man Who Lives in Eyes" and "Pupil" emphasize the construction of imagery within the canvas, evoking a surreal sense of absurdity. "Cloud-made Shoes" not only boasts a vibrant color palette but also incorporates solid wood, echoing the presentation style of murals, yet infusing the entire piece with a contemporary sensibility.
Viewing Qiu Xipeng's paintings solely as fragments of narratives would be overly simplistic. Their allure lies in the mysterious depths they convey. From the frozen cries of characters to moments of silent mystery, these works defy categorization, embodying Qiu's own description of them as classical, contemporary, and beyond any singular "-ism."