Slide

言晴

言晴

Artist

相交线,坦培拉 Tempera,41 × 32 cm,2021

1988年 出生于湖南

2015年 修读于央美油画系坦培拉研修班。本硕先后毕业于湖南师范大学美术学院油画专业。
她钟情于坦培拉绘画的天然与纯粹,并聚焦于对自然精神的灵性探索。

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

Categories: Uncategorised

Exhibitions

过往展览

2024.3.10

Arched Wave: Beyond the Boundaries of Geography

Artists: Mutian Chen, Longing Hu, Xiaoliang Huang, Ying Li, Mingjun Luo, Bing Ma, Jianping Zou
Curator: Xinyu Wong

Arched wave: Throwing the hidden string in the discontinuity

Artists: Qiushi Chen, Yujian Guo, Mingjun Luo, Lijun Wang, Li Zhou, Wei Zhou
Producer: Wenjing

Flower For Algernon

Artists: Jing Wang/ Yiwen Zhao
Curator: Xinyu Wong

Perceptual Track

Artists: Haiqiang Guo、Hang Su、Sibo Wu、Wei Zhou
Curator: Yu Xie

Art Channel

艺术频道

ARCH REVIEW | Gaze in the Dim Glow

“The Task of Alchemy”, Pocono Zhao Yu’s solo exhibition at Arch Gallery, presents a subtle sense of time traveling. As the title of the exhibition alludes to, it is as if the smelting and mysterious deeds of some spiritual objects. Within the whisper that fluttering outside of time, this enormous task is under the invisible dome of time.

ARCH REVIEW | Making Complicity

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.

ARCH REVIEW | Guo Yujian :Dangerous Complicitiy

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.

豆豆也是拳拳

1985年在北京中国美术馆举办的《劳申伯格艺术展》让中国人近距离地看到了“后现代艺术”的形态,这些展品让中国观众目瞪口呆:山羊的标本,汽车的轮胎,废弃的地毯组成了前所未见的图腾。在展览期间,保洁员差一点把作品误作是垃圾清理。

ARCH 采访 | 郭宇剑

从那时起我尝试让白日梦式的想象力渗到画面中去,那些较早之前象征意味较浓的图示也被自然地冲淡了。或许正是因为这种像是被什么浸润过的画面所流淌出的气质和一些与现实相违和的图像内容才造成了类似梦境似的联想。

ARCH 采访 | 郑江

“边界惊险但精彩,像绘制一个形象生动的轮廓线时一样充满诱惑力。我觉得创作过程本身就包含对艺术形式的思考,两者应该是一体、贴切的。”

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10.00am – 6.00pm

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410000 Changsha

星期二 – 星期日
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