蒋衢阳故意模糊观者对形状和纵深的理解，将不同透视关系的垂直面，几乎毫无过渡地粘合构成新的形状。从《乐章》《 晕》《影》《纷飞的纷飞》等作品可以看到他是如何将局部拆解，在游移流动的光影中，捕捉看不见的心神残像，他将柳的一 部分形体与背景融合，用光将形体的部分消融，打破物体原有的封闭轮廓，在轮廓上形成虚实相生的效果。其中《晕》的柳 枝由左上角倾斜垂下的构图，甚至会令人想到宋代“马一角、夏半边”的经典图式，而《纷飞的纷飞》中，叶片因光线的角度 而在过渡的不同色彩中有了多重的视觉层次。《影》更借强烈的对比去除枝干等“多余”的成分, 高度概括着柳叶的基本形态。
回看艺术史中柳树图像的元素并不鲜见，被无数文人墨客以诗句称颂的柳树，在中国传统绘画中，却并未如梅兰竹菊那 样形成独立的庞大母题。在蒋衢阳看来，迥异于竹子不断向上的冲击感，柳树更像一个谦逊的配角，内在的柔韧动态又独 具气质和符号性。因此他并未沿袭前人走过的路径，而是以写实的方式突出柳的抽象性，也愈加关注局部与整体间的结 构关系。
The exhibition begins with the work Circle, a luminous yellow circle placed at the forefront of the picture as a symbolic form collaged onto the image, deeming it the only work in the exhibition with a visible representation of the light source. At the same time, this piece is indicative to the viewer to pay attention to the forthcoming plays with light and shadow in the rest of the exhibition. Interestingly, the light source in this picture is not what illuminates the scene, as is often imagined. On the contrary, one discovers one from within, enveloping the foreground in a halo of light. Shadows appear in the presence of forms. The appearance of natural light under- scores the temporality of the work on canvas. This exhibition unfolds pictorial variations from sunrise to sunset, presenting how the weeping willow’s shadows change in multiple ways as the artist moves from“quiet obser- vation”to“intervention.”
Jiang Quyang deliberately blurs the viewer’s preconceived notion of shape and depth by collapsing vertical surfaces with different perspectival relationships to form new shapes with an imperceptible transition. From works such as Movement, Halo, Shadow, and Fly Fly, we can see how the artist captures the invisible rem- nants of the mind by unpacking pictorial details in the wandering and flowing light and shadow. He integrates the weeping willow’s partial form with the background, applying luminosity to dissolve the willow’s original closed outline, engendering contouring ambiguity. In Halo, the willow branches hang down from the upper left corner, recalling the classical paintings of Ma Yuan and Xia Gui from the Song Dynasty, while in Fly Fly, the leaves exhibit multiple visual layers through transitional colors under various lighting angles. Shadow, on the other hand, whose strong color contrast removes the“superfluous”components such as branches and trunks and highly abstracts the essential form of weeping willow leaves. Looking back into art history, it is not uncommon to find the imagery of weeping willows; although it has been celebrated by countless writers and scholars in prose and verse, it has not formed an independent or substan- tial subject matter in traditional Chinese painting, like plum, orchid, bamboo, and chrysanthemum. In Jiang Quyang’s view, unlike the upward impact of bamboo, the willow tree is much more of a humble supporting character, with inherent flexibility and dynamism that is unique in its temperament and symbolism. Therefore, he does not follow the path his predecessors took but highlights the abstract nature of the willow in a represen- tational approach while paying more attention to the structural relationship between the parts and the whole.
《拂风》以绿色为主调，再现出清风拂柳的轻盈感，仿佛自下而上的光线如实地反映出湖光倒影的意味。以《拂影》 为题的多件作品甚至去除了叶片，艺术家以拼贴、反复涂抹等方式强调线条不折的韵律。与前述的画作不同，该系列中出 现了完全深色的“背景”，来衬托或动感飞扬、或安静垂落的柳枝，事实上，那是不折不扣前置的颜色，而涂于底部的色彩 在艺术家去除胶带后显露出渐变的光感。
本次展览中最大尺幅的《日晷》以白天的40个不同时间的光与色衬托细枝连缀的宽大柳叶，汇集了在同一地点中艺术家 从朝到幕巡回往复的观感体验。前景中叶脉等肌理、纹路的细节，在平涂般的处理中省略，整体更似用书法中“写”的笔 法来突出柳叶的形。后景中不同时间的自然光照在画面内部向外折射，让柳枝的局部化为深沉的阴影，逆光的处理让空 间的体积感增强，它们完全独立，并不依赖画布边缘以外的任何东西来完成场景。观众的视线也随之不断变换着关注的 焦点，围绕光源排列的“晕影”游走。就像作品标题所暗示的，除了量度时间，还多了几分岁月如梭的感慨。(文/贺潇)
Brushing Breeze’s primary color, green, represents the lightness of the breeze brushing the willow as if the light from the bottom up reflects the meaning of the reflection of the lake light. Many works with the title Brushing Shadows have removed the leaves altogether, allowing the artist to emphasize the rhythm of unbroken lines by collage and color layering. Unlike the works mentioned above, a completely dark“background”appears in this series to set off the willow branches, either moving and flying or quietly drooping, but are, in fact, the colors in the foreground. The colors painted on the bottom reveal a gradient of light after the artist removes the masking tape.
As the exhibition’s finale, Sundial is also the most prominent work in scale on view. It features light and color from 40 different times of day against the expansive scene of weeping willow branches, conjuring the artist’s perceptual experience of that specific location from sunrise to sunset. In the foreground, the details and tex- tures of the leaves are omitted with the artist’s flat surface treatment, highlighting an overall impression of the willow leaves with a calligraphic“writing”style. The natural light at different times in the background refracts outward, turning the willow branches into deep shadows in places. The backlighting enhances the sense of vol- ume in the space. They are fully independent, without relying on anything beyond the pictorial frame to com- plete the scene. The viewer’s gaze would also shift focus, wandering around the“halos and shadows”lined by the light sources. Other than what the title of the work implies, a measurement of time, one also grasps a sense of transience.(Text/Fiona He)