Page 56 - Contenporary Ink Chinese Painting Nov 27 2017 Hong Kong
P. 56

"Emptiness goes together with substance and truth with fantasy.
     Reality and illusion are one world: the two underlie and engender each
     other. The give and take is spontaneous."

                                                                                           Xu Lei

    “虛 虛實 實,真真 幻幻,現實和幻境是一 個世界,兩者相因相生,進 退自如。”
                                                                                                                   徐累

    841
    XU LEI (B. 1963)
    Coloured Rocks
    Scroll, mounted and framed
    Ink and colour on silk
    45.5 x 64 cm. (17 √ x 25 º in.)

    PROVENANCE

    Marlborough Gallery, London
    HK$400,000-600,000
    US$52,000-77,000

    徐 累(1 9 6 3 年 生)
    霓石
    設色 絹本 鏡框

    來源

    倫敦Marlborough畫廊

    Xu Lei was born in Nantong, Jiangsu Province in         徐累 1963 年出生於江蘇省南通,於南京藝術學院
    1963. He was trained at the Nanjing Art Academy         美術系接受繪畫訓練,畢業後到江蘇省國畫院從事
    and became a resident painter at the Jiangsu            專業創作和研究。徐累曾是新潮美術的積極參與
    Institute of Chinese Painting upon graduation.          者,作品曾在 1989 年中國前衛藝術大展中展出。
    Xu was an active participant in the New Wave
    movement and his work was exhibited in the China/       徐累對色彩的選擇和使用給觀者留下強烈的第一印
    Avant-Garde Exhibition in Beijing in 1989.              象。利用精緻入微的工筆技巧,徐累以寫實的方法
                                                            表現被刻畫對象,並設置神秘的背景,例如水,屏
    Xu’s choice of colour palette strikes viewers in their  風和簾幕。徐氏在畫面中構建出虛幻的空間,賦予
    first impression. With refined and restrained gongbi    其內在疏離的語境,以引導觀者去想象被描繪對象
    technique, Xu portrays his subject, in a realistic      和環境之間的關係。對徐累來說,最吸引他的是“如
    manner, set against mysterious backdrops such as        何調弄圖像之間的思維關係,修辭關係”。這種處
    water, curtain and screen. He constructs a fantastical  理方法讓觀眾聯想到超現實主義畫家的作品,不管
    spatial dimension that gives a domestic and             是可見的,還是不可見的,對觀眾來說同樣是引人
    estranged context, alluring viewers to imagine the      入勝的。
    relationship between the subject and its surrounding.
    For Xu what appeals to him is “how to make a game
    out of cerebral, rhetorical relations among pictorial
    figures”. This treatment reminds viewers the works
    by surrealist painters where the seen and unseen are
    equally intriguing to one’s eyes.

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