Artist
相交线，坦培拉 Tempera，41 × 32 cm，2021
1988年 出生于湖南
湖南籍艺术家言晴以坦培拉为沟通媒介，以树的灵性与智识为语言，带领大家走进一场静谧又治愈的纯粹空间。展览以此处无声胜有声的轻盈状态与观众共同审视人类与自然的关系，在每一幅言晴所表达的树与树之间的空隙里，是我们自身与自然的对话，亦或是我们自己与自己的对话。
2016 “周而复始”丹培拉绘画多重诠释研究展全国巡展，北京，上海等
2016 “制造” 株洲油画六十年精品展，长沙
2019 北京大学艺术学院丹培拉绘画研修班结业汇报展，北京
2021 艺术荐·第三届当代艺术线上交流展
2022 “在場” 株洲油画学会年展，株洲
地上的一枝，坦培拉 Tempera，20 × 40 cm，2021
倾斜的一枝，坦培拉 Tempera，30 × 42 cm，2021
蓝色的树枝，坦培拉 Tempera，70 × 60 cm，2021
When the painting is really close to us, the first thing that appears to our eyes is this Le cimetière marin[1] written by Valéry in 1922. The curators Hu Yihang and Zhang Tingzhi, together with artist Guo Yujian, divided the exhibition “Dangerous Complicity” in the gallery into three chapters with words and symbols: imagination, a plateau, and a theatre.
When looking at Guo Yujian’s works, what have been depicted is always in a state of flow, and the secret words that are related to each other become images that avoid us and approach us. The work that takes shape on the canvas in our sight is yet to come, in transition, about to embrace change, and it will not push us away until the feeling is fulfil.
Since then, I have tried to let daydream-like imagination seep into the picture, and those earlier, more symbolic images have also been naturally diluted. Perhaps, it is precisely because of the temperament that seems to be infiltrated by the picture and some image contents that are contrary to reality that cause the association like a dream.
他的作品长期以来从“劳动”这个常用的词汇出发，不断向现实世界里以“语言”为基础的权利追问。“我只希望我认为重要的东西能被大家知道，那就是”具体的劳动“在现实世界中是如何”做功“的。”
在看向郭宇剑的作品时，被描绘的总是在流动的状态中，相互间有着联系的密语成为图像回避我们、又逼近我们扑面而来。我们视线内成形在画布上的作品是尚未到来、在过渡中、即将迎接变化，直到感受盈满，它才会把我们推远。
Tuesday – Sunday
10.00am – 6.00pm
ARCH Gallery
Yinjiachong Rd, Tianxin District
410000 Changsha
星期二 – 星期日
上午10.00 – 下午6.00
湖南省长沙市天心区殷家冲路
1123文创园一楼
ARCH GALLERY
