高锋，2011年毕业于乐山师范学院，从事艺术创作与研究，工作生活于成都、眉山。2018

“理想之光-四川省第八届美术双年展” 成都天艺美术馆

“形而上”第二届当代艺术巡展 北京 广州 滨州

“高原高原”第七届中国美术西部展 陕西省美术博物馆

2018广州当代艺术博览会 广州流花展贸中心Gao Feng, graduated from Leshan Normal University in 2011, is engaged in artistic creation and research, working and living in Chengdu and Meishan.

2018

"Lights of Ideal - Eighth Sichuan Biennial Art Exhibition" Chengdu Tianyi Art Museum

Metaphysical Second Contemporary Art Exhibition Beijing guangdong binzhou

Art MuseumThe Seventh Western Exhibition of Chinese Fine Arts "Plateau" Shaanxi Museum of Fine

ArtsGuangzhou Liuhua Exhibition and Trade Center, Guangzhou Contemporary Art Expo 2018

我一直都保持着记录艺术状态的习惯，零零散散一年下来也有几本。2018年几乎一直处于飘忽不定的状态，可能是才真正开启艺术生涯作品不能更多呈现自己内心的诉求。因此一直在反思自己、否定自己、指导自己、顿悟自己。创作就像个无底洞，洞中还有洞，直到探寻到心灵深处；又像个无尽的旅行，充满着期待与迷惘。

I have always kept the habit of recording the artistic state, scattered over the past year there are several books. In 2018, it is almost always in a state of uncertainty. It may be that the works that really opened up the art career can not show more of their inner demands. Therefore, I have been reflecting on myself, denying myself, guiding myself and insighting myself. Creation is like a bottomless pit, with holes in it until it reaches the depths of the soul; it is like an endless journey, full of expectations and confusion.

迷途 oil on canvas 155*100cm 2019

四君子共聚3 oil on canvas 120*190cm 2019

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心象11 oil on canvas 65*100 2019

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2018年，我画了大大小小四五十件但能拿出手的不多，19年力争上60件。全年经历了三至四次风格的转变，转变的原因跟认知与观念有关，你也可以说是尚未成熟的作品。18年几乎都在向内探索，知道18年底在思想观念上产生了一点转变，原因是单纯长时间探索内心，让我感觉越发空洞与虚无，不足以承载自我精神，除了它还需要承载文化，思想或宗教。

In 2018, I drew forty or fifty pieces, big or small, but not many. In 19 years, I strived for sixty pieces. The whole year has gone through three or four changes in style. The reasons for the change are related to cognition and ideas. You can also say that it is not yet mature works. Almost all of the 18 years have been exploring inwards. I know that at the end of the 18th year, there was a change in ideology. The reason is that I felt more empty and nihilistic by simply exploring my heart for a long time, which is not enough to carry my own spirit. Besides, it also needs to carry culture, ideology or religion.

心象10 oil on canvas 50*40cm 2019

没想好 oil on canvas 190*120cm 2018

大 oil on canvas 65*100cm 2018

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心象9 oil on canvas 40*65cm 2018

他山之石 oil on canvas 80*80cm 2018

四君子共聚2 oil on canvas 40*65*2cm 2018

四君子共聚 oil on canvas 40*50*2cm 2018

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由于自己的“眼高手低“，很难出一幅满意的作品。有时即使当时满意，放上几个月可能就难说了。有时画着画着，内容模糊了，语言没有规律了，越发捉急。因为一直在变，不是乱变，是因为过多的思考，一大堆东西不知道怎样去过滤。有时甚至还没有深刻研究，就把他给否定了，这种状态都不知道是好是坏。

It is difficult to produce a satisfactory work because of their "high eyes and low hands". Sometimes, even if they were satisfied, it might be hard to say for a few months. Sometimes the painting, the content is blurred, the language is irregular, more urgent. Because it has been changing, not chaotic, because of too much thinking, a lot of things do not know how to filter. Sometimes he is denied even before he has made a deep study. This state of affairs is not known whether it is good or bad.

心象8 oil on canvas 40*50*2cm 2018

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远古呼唤 oil on canvas 100*100cm 2018

心象7 oil on canvas 60*195cm 2018

心象6-九顶山的死水潭 oil on canvas 60*195cm 2018

心象5 oil on canvas 60*195cm 2018

心象4 oil on canvas 60*195cm 2018

我本人很喜欢前沿的东西。有时也被现代和当代性捉弄，很想创造出赋合当下人审美的新作品。国内做当代的不得不说大部分都是按照西方的脉络创作的，一味追求形式奇特、前卫。有思想观念的前沿作品是令人深刻的，我很向往。为了前卫搞前卫的东西看不到思想内核这类作品看多了就没感觉了。因此我常思考形式感是重要的，但绝对不是最重要的。传统现在当代或许没那么重要，而在于你开发出了什么新东西新思想，或许真理真的掌握在少数人手里。

I personally like cutting-edge things. Sometimes they are also teased by modernity and modernity, and they are eager to create new works that suit the aesthetics of the contemporary people. It has to be said that most of the contemporary works in China are created in the context of the West, pursuing the peculiar and avant-garde forms blindly. Frontier works with ideas are profound and I yearn for them. For the sake of avant-garde, if you can't see the core of ideas, you can't feel it. So I often think that the sense of form is important, but absolutely not the most important. Tradition, present and contemporary may not be so important, but rather what new things and ideas you have developed, perhaps the truth is really in the hands of a few people.

无题 oil on canvas 40*50cm 2018

无题 oil on canvas 40*50cm 2018

心象3 oil on canvas 150*185cm 2018

面对多重障碍 oil on canvas 185*150cm 2018

熟悉与陌生-心象2 oil on canvas 60*90cm 2018

熟悉与陌生-心象 oil on canvas 120*180cm 2018

熟悉与陌生-山石7 oil on canvas 100*100cm 2018

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熟悉与陌生-山石5 oil on canvas 100*100cm 2018

熟悉与陌生-山石3 oil on canvas 65*100cm 2018

熟悉与陌生-山石2 oil on canvas 60*90cm 2018

熟悉与陌生之十九 oil on canvas 150*185cm 2018

熟悉与陌生之18 oil on canvas 150*185cm 2018

熟悉与陌生-山石1 oil on canvas 150*185cm 2018

经历几次风格语言转变与过滤，自己内心想要的艺术形态也越来越清晰。但主题内容越发模糊。这也是我目前最捉急的地方，画着画着与最初的构思有偏差，就开始堵了，思绪堵了可比堵车恼火多了，因此就将错就错，慢慢感觉又来了，过程有了起伏，那种一气呵成的作品很少。

After several changes and filters of style and language, the artistic form I want in my heart is becoming clearer and clearer. But the content of the subject becomes more and more vague. This is what I am most anxious about at present. Painting deviates from the original conception, and I start to block up. My thoughts are much more annoyed than the traffic jam. So I will make mistakes. I feel it is coming again slowly. The process has ups and downs. There are few works that have been completed in one go.

熟悉与陌生之十六 oil on canvas 100*65cm 2018

熟悉与陌生之十五 oil on canvas 185*150cm 2018

熟悉与陌生之十三 oil on canvas 100*65cm 2018

熟悉与陌生之十一 oil on canvas 100*65cm 2018

挥之不去之二 Mixed media on canvas 120*120cm 2018

熟悉与陌生之九 oil on canvas 100*65cm 2018

挥之不去 oil on canvas 100*100cm 2018

熟悉与陌生之八 oil on canvas 100*65cm 2018

比较鸭梨山大

熟悉与陌生6 oil on canvas 100*65cm 2018

熟悉与陌生之五-迷失 oil on canvas 160*120cm 2018

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熟悉与陌生之四-憨 oil on canvas 100*100cm 2018

熟悉与陌生之三-致敬克里姆特 oil on canvas 80*80cm 2017

熟悉与陌生之二 oil on canvas 80*80cm 2017

2019年将在18年基础上把握当下、结合传统、连接自我创作出更点型的作品。

In 2019, on the basis of 18 years, we will grasp the present, combine tradition and connect ourselves to create more point-shaped works.