自称“带相机的考古学家”的美国摄影艺术家大卫·普劳登（David Plowden）1980年代中期曾拍摄过一组美国中西部地区的风景，集结出版了一本摄影集《有感之地》（A Place of Sense），展示了正在消失中的美国农业与小镇风情。即便从未亲临其境，观众也可以通过摄影师的镜头对其所拍摄的景观产生情感与触动。今天，中国艺术家刘鹏在网络世界中与不同的景观相遇——有自然的山脉与森林，也有人类建造的网球场与游泳池——从中找出与自己的内心世界发生特殊关联的图像，创作出有感而发的绘画作品。
刘鹏与美国艺术家阿历克斯·卡茨（Alex Katz）、英国艺术家大卫·霍克尼（David Hockney）和彼得·多伊格（Peter Doig）等人一样，没有选择二战后西方当代艺术界炙手可热的抽象绘画作为主要的媒介，而是将眼光投向具象绘画，一再地将其向纵深推动。本次展览的作品中，风景只是一个载体，刘鹏描绘的既不是一个具体的地点，也不来自于一个具体的时间。这些来自于网络、印刷品，甚至是想象中的景观，被解构、重组，并赋予了艺术家个人的意识和独特的视角。与此前的作品相比，刘鹏对色彩、构图与笔触的把握更为娴熟到位，他也成功地摆脱了具象绘画的叙事局限性，专注于对绘画基本元素的大胆革新与尝试。
AroundSpace is pleased to present millennial artist Liu Peng's solo show in the beginning of 2019,A Sense of Place, showcasing the young artist's most recent works.
Describing himself as "an archeologist with a camera," American photographer David Plowden took a series of pictures that documented the disappearing landscape of small town and rural areas in the Midwest in the mid-1980s. This project resulted in a photo album titled A Sense of Place, which touched viewers and evoked their sentiments and nostalgic feelings even if they had never been to those places. Today, Chinese artist Liu Peng encounters landscapes in the cyber world, including natural mountains and forests, and man-made tennis courts and swimming pools. He selected those places and images that connect to his inner self and made paintings out of them.
Like American artist Alex Kartz, and British artists David Hockney and Peter Doig, Liu Peng resisted the temptation of the most popular post WWII style--abstract painting. Instead, he made figurative painting his primary media, and never stopped exploring or bringing it to the next level. In the paintings shown in the exhibition, landscape is only a vehicle. Liu Peng did not portray a particular place in a particular time period. He drew inspiration from the internet, printed media, even his own imagination, breaking these images and reconstructing them with his individual thoughts and perspective.
Compared to his earlier works, these paintings show that Liu Peng's artistic skills have been significantly improved, in the way he arranges the composition, color scheme and brush strokes. He successfully breaks the narrative convention of figurative painting, and dedicates himself to exploring and innovating the basic nature of painting. Central Park, one of the Landscape of this Momentseries, has a spring-like high saturated and bright palette, reminding us Hockney's recent iPad paintings. While in the series of On the Way of Viewing A Tennis Court, Liu blended different time and spaces in one canvas, creating a deja-vu mood by orchestrating the figures, colors and lights.
Hockney's subject matters come from his life and friends, while the landscapes and spectacles on Liu's canvas come from the internet rather than the real world the artist lives in. However, in 21st century, we seem to depend on and co-exist with the internet more than we connect with the real world. In this point of view, those seemingly familiar yet unknown "cyber landscape" may be more real to us, and can easily move us and remind us "a sense of place" deep inside of our memory.
开幕 I 2019年3月23日下午四点
展期 I 2019年3月9日-4月20日
地址 I 上海 四川中路33号703室
Opening I 4pm March 23. 2019
Dates I March 9th till April 20th, 2019
Address I Suite 703, No. 33 Si Chuan M. Rd. close to Yan An E. Rd.