展览信息

　　艺术家：李晓峰

　　策展人：骆莉

　　开幕时间：7月15日 20:00

　　展览时间：7月16—31日

　　展览地点：NU SPACE | 明堂创意工作区，奎星楼街55号

　　Artist：XiaoFeng Li

　　Curator：Luo Li

　　Opening：20:00 July 15，2016

　　Duration：July 16—31，2016

　　Add：NU SPACE | MiNTOWN STUDIO COMMUNITY,55 Kuixinglou St

　　前言

　　真水无香

　　这次李晓峰的个展里面展出了他的两类纸上作品，有一组作品是李晓峰通过他的绘画原作而制的限量复制品，画面高度还原。这一类风格的作品，画面有丰富灵动的趣味，画工细腻，情感优柔。对花卉、植物和细小昆虫的刻画惟妙惟肖，多彩精致得令人叹服。

　　另外一组他称之为意象绘画，较之于对外在事物的美的把握，这组作品更贴近生命的态度，对心源的探索，用他自己的话来表述最为恰当：“我在创作意象水墨作品时，往往主题朦胧，可阴可阳，或柔或刚。使难抒之情、难言之理，由意象婉转得代抒代言。所谓的：“言不尽意，立象尽之”。就是这个意思”2。 在这里他虽然不做对现实事物明确的刻画和描绘，却有存在的价值，做而无做之痕迹的返璞归真，是一种对创作本身更大的挑战。

　　我们在同一个空间内展现了李晓峰的这两类作品：从视觉的“香”到“万物自生听，太空恒寂寥”3的“无香”。从精致的抒情到无形之形的张力，善于水墨表现的李晓峰在这两头游刃有余，自由创作的他内心一定住着一个自由的灵魂。

　　骆莉

　　—————————————————————

　　1: “真水无香”——佛教用语，源自于印度梵文，意思是将散乱的精神凝聚一处。 鉴于《真水无香》朱良志“美学的散步”，引言(清)蒋仁之印的含义。

　　2: 节选于“寓意于象的水墨迹”--李晓峰

　　3: 韦应物——公元(737～792)，中国唐代诗人。汉族，长安(今陕西西安)人。

　　Foreword

　　True Water is not aromatic

　　Two kinds of paintings on paper are presented in this Li Xiaofeng’s solo exhibition. One series of which are the pictures of limited edition after his original paintings, and the quality of the handmade reproductions is exquisite. Paintings of this kind of style have rich, vivid and picturesque taste; the draftsmanship is meticulously refined and they convey leisurely emotions. The depiction of flowers, plants and small insects is lifelike, marvellous and breathtaking.

　　The other series are as he would like to call imago-painting. By contrast with capturing the external beauty, this group of artwork took the approach to the attitude of life, exploring the origin of the heart. It is much more appropriate to quote his statement: “When I was creating imago ink paintings, the themes always tended to be misty, between Yin and Yang, sometimes can be soft and sometimes hard. The most ineffable feelings and reasons can be transmuted subtly by the imago pictures. The so called ‘when words cannot fully express ideas, imago making is capable’ is referring to this.” Here even though he does not have a clear depiction of concrete objects and things, the images have their value of existence: the making of the unmaking is the return to one’s original simplicity, which is a much greater challenge in creating art.

　　We exhibit these two series in a same space: from the visual “aroma” to the “aromatic-lessness” of “The nature has spontaneous sense of hearing, the universe has eternal tranquility”. From sophisticated expression to shapeless tension, the ink master Li Xiaofeng is able to work at the both ends; in the deepest heart of this free minded artist, there must exist a free soul.

　　Luo Li

　　——————————————————————————————

　　1:This is a Buddhist term from ancient Indian Sanskrit, meaning gathering the scattered spirits into a single place. See Zhu Liangzhi’s Aesthetic Stroll, quote from the meaning of Jiang Renzhi’s seal (Qing dynasty).

　　2:See Li Xiaofeng, “The trace of Ink, meaning lies in imago ”.

　　3:From a poem by Wei Yingwu (737-792), one of the most famous poets in Tang dynasty.

　　我的版画情缘

　　就读中央工艺美院时，我对中国的民间艺术十分喜爱。陕西的凤翔年画就是我着迷的一种民间美术形式。在大学三年级的时候，利用寒假回老家成都期间，从成都坐火车到宝鸡，在换乘了几趟长途客车，来到凤翔这个偏远的小镇。几经一路的颠簸，在一家小客栈住下，第二天，就去拜访一位木刻年画的传人，他很热情的招待了我。讲述了他祖上做木板年画已有几百年历史，他是第二十代传人。他家是一个安静的四合院，院门上镶嵌着青砖石，刻有“秦人遗风”四个字。院落里有一间房是版画工作间，墙上贴满了门神，和各种民间故事题材的年画，木刻原版堆了一屋子，有的是很老的版，有的是他新刻制的，我好奇地问可不可以试试印一个版画，他爽快的同意了。原来做一张木板年画可不容易，画面中每一个色彩，都配有一块独立的木板，色彩越丰富，版次就越多，还要保证形与形之间对接整齐。凤翔的木板年画大都是门神和传统故事和吉祥寓意的纹样。造型刻画很有力度，色彩对比浓烈。彰显出黄土高原上人们那股热情豪放的情怀。临走时，我选了些他的木板年画收藏。后来其中的一些版画是赠送给欧洲的博物馆，有一些保存至今。只是现在时隔多年，我已记不起来这位慈祥的木刻年画传人的名字，有幸还保留着这两张当时的照片。

　　My Romance with Printmaking

　　I was very fond of Chinese folk arts when studying in the Central Academy of Arts and Design. The Fengxiang new year pictures from Shaanxi province is one of the folk arts I felt particularly fascinating. During the third year of undergraduate course, I had the winter break taking train back to my hometown, Chengdu, and during the trip, I took a train to Baoji, and transferred via many long distance coaches to get to Fengxiang, a small town away from metropolis. The sojourn was quite tiring, and I settled down in a small inn. The next day, I took a visit to a craftsman of woodcut. He showed great hospitality in welcoming me, and told me the techniques have been passing from one generation to another, and he was the 20th generation. His house was a quiet quadrangle, the gate was inlaid with black brick, with an inscription of four Chinese characters: Qin people’s legacy (Qin Ren Yi Feng). In the quadrangle there was a room as the workshop, and the walls of which were full of gate gods, and many new year pictures of various folk scenes. Piles of original print wood plates were in the room, some were old and some were newly made. Out of curiosity, I asked if I could print one, and he immediately said yes. As a result, making a woodcut new year picture was not easy, as each colour in the picture required an independent plate. The more colours, the more plates. Not only that, but also the contours were required to be precise. The subjects in Fengxiang’s woodcut new year pictures were mostly gate gods, traditional stories and fortune patterns. The plasticity was powerful, with strong colour contrast, which represented the warm spirit of the people who live on the Huangtu Plateau. Upon my departure, I selected some of his new year pictures for collecting. Some of them were donated to European museums, and some are preserved till now. It is a pity that after so many years I am not able to remember the name of such a kind printmaker, fortunately two photos are still preserved.

　　1994年移居阿姆斯特丹，结识了艺术家马蕙，那时她一心在创作铜版画，经她介绍，我也加入阿姆斯特丹的一家版画制作工作室。铜版画是荷兰的一项传统艺术类型，艺术大师伦勃朗就给世人留下了数量惊人的版画精品。铜版画的制作过程先是在铜板上覆盖一层防酸保护剂，根据自己的创作要求，可薄可厚，等干了以后，在上面针刻或刮画。之后在装有硫酸稀释液的槽里腐蚀，那味道可不好闻。制版完成后，上油墨，铜板纸在印制前，稍加喷湿，以便印压时油墨均匀。印刷过程全都是手工操作，每一环都要做得到位，要不就前功尽弃。当然印出的每一版都有所分别，这也正是铜板画的魅力。

　　In 1994, I migrated to Amsterdam and befriended artist Ma Hui, who devoted herself in making etching. With her recommendation, I also joined a printmaking studio in Amsterdam. Etching is a traditional art in Netherlands. Master Rembrandt left a great quantity of amazing exquisite prints. The etching making process is, firstly make an anti acid coating on copper plate, and when the coating dried, makers can make carving or dry-point on the the plate, according to their will. After that, making etching in the sink that contains the dilution of sulphuric acid. The smell is not pleasant. After making the plate, ink would be added, and before printing, water needs to be slightly spread on the plate so that the ink can be evenly applied when printing. The whole process of printing is manually handled, and every step needs to be very cautious and precise, otherwise everything would be in vain. Of course, every edition is not the same, and it is the charm of etching.

　　2001年，我陪同英国威尔士大学老师去四川美术学院访问。偶然看到一本四川美院的老师作品集，韦嘉老师的石板画很吸引我，于是到他工作时和他聊天，他拿出他的石版画作品给我看并相互交流。石版画因制作条件的限制，所以一个版不会印制太多。后来收藏选了韦嘉老师的一幅1999年创作的“遥远的寂静”石板画。

　　In 2001, I accompanied tutors from the University of Wales to Sichuan Fine Arts Institute. By chance, I read a catalogue of tutors’ artworks there, and Wei Jia’s lithographs were very attractive to me. Thereafter I paid a visit to his studio to have a chat. He showed me his work and we started exchanging opinions. Because of the limitation of making lithographs, a plate could not reproduce many editions. I collected Wei Jia’s Remote Tranquility, which he created in 1999.

　　版画制作在高科技的发展下，也呈现出不同的形式与制作手段。通过对原作的超高清地扫描，再之后的制版过程中，对色彩的还原度，细节的精度，以及对整个版面的第二次调整与掌控。反反复复，最终达到自己理想中的效果，这是一段耐心细致的过程。最后精度微喷在特制的宣纸上，再次手工托裱后，盖章签字完成。今年我创作的“情窦初开”系列，选择了这种制作工艺，完成了这一批版画作品。

　　With the development of high technology, printmaking has been expanding its form and making techniques. By using high resolution scanning, more precise and detailed reproduction can be achieved, while for realising the ideal effect, it still requires patience in the process of making. Eventually, the picture will be print via highly refined micro jet on specially made rice paper, and will be finalised by manual mounting, seal stamping and signature signing. I created First Love series this year, and particularly chose such a technique to make the prints.

　　李晓峰

　　XiaoFeng Li

　　1968年出生于成都市

　　1990年毕业于中央工艺美术学院，获文学学士学位

　　1991底受捷克国家东方博物馆邀请，以客座艺术家身份旅居捷克，在此期间，与多个博物馆合作举办画展和进行艺术学术活动

　　1994年移居阿姆斯特丹，继续以艺术家身份活跃在西欧文化圈

　　2002年客居台北，签约台湾艺术画廊

　　2008年在北京建立工作室

　　2013年入住成都蓝顶艺术区

　　李晓峰的作品被中外博物馆，艺术机构和私人藏家收藏，作品在许多艺术杂志，报纸刊登，是媒体所关注的活跃艺术家。李晓峰以他丰富的生活经历和对时代潮流的发展有着他独特的见解和睿智的思考，形成了他多样的艺术形式。除了绘画创作之外，积极参与艺术相关领域的跨界合作，在时尚服装设计，家具设计，空间软装饰，包装整体设计等，励志把艺术融入现代人的生活。

　　出版个人画集

　　《理想而非现实》  北京 2005

　　《花即是花》  北京 2010

　　《万花筒里的精灵》  香港 2013

　　《荏染柔木》  成都 2015

　　1968 Born in Chengdu

　　1990 Graduated from the Central Academy of fine arts with a Bachelor of Arts

　　1991 Was invited as the guest artist by the Czech national Oriental Museum, during the period he lived in the Czech Republic, he cooperated with many museums and galleries

　　1994 Moved to Amsterdam and still active in the Western Europe’s culture

　　2002 Cooperated with Taiwan art gallery

　　2008 Set up his own studio

　　2013 Occupancy in Chengdu Blueroof Art District

　　.

　　Many art magazines、newspapers and media pay attention to Li Xiao feng’s artworks, his artworks are collected by the Chinese and foreign museums, art institutions and private collectors. He has unique insight and wisdom of thinking with his rich life experiences and the trend of the times development, which forming his diverse forms of art. In addition to painting, he participates in cross-border art cooperation, fashion design, furniture design, soft decoration, and packaging design. He aims to bring art into modern people's life.