《水墨序言》四人展芝加哥晓空间艺术3月开幕

Ink Preludes

Four Person Exhibition

March 1-31, 2024

Opening reception: 4-7pm, March 1, 2024 

Nanxi Jin

Wen Xie

Ming Zhang

Zelene Jiang Schlosberg

1522 Greenleaf St, Evanston, IL, USA 60202

https://www.xiaospace.org

 

前言

一种活的艺术传统在于不断地延展拓宽其边界和内延。四位深受中国传统水墨艺术滋养熏陶的华人艺术家，其中两位在美国，两位在本土，以不同的言语，材料，想象力与水墨相遇，打开新的空间，生成新的图景。在看似不同的方向，回归一种分辨度极高的我们称之为东方的气韵。

谢雯，出生于北国极寒之所，现居钟灵毓秀之地苏杭。她自幼接受传统的水墨训练，擅长线条，功夫了得。本次展览，她用水墨技巧结合水彩画法，描绘花鸟鱼猫、生命百态。20年来，她在艺术之路上坚韧不拔，持续创作，主张要自信，要果敢，要勇于发出《我原本就是一座高山》的宣言。

张明，来自湘水的男子，九嶷山水的神灵传说和无边无际的山雾牵引着他的心绪。墨在纸上，十分潇洒。有泼，有舞，有连绵，有希望，占天卜地，寻求天地之法则和内心之安宁。山水结合甲骨文字和标记，意动神移，在《卜墨》我们看见远古和当代交织的气息。

金楠稀，16岁来美国求学，从高中一直读到芝加哥艺术学院纯艺术硕士。秉承在景德镇的陶瓷艺术世家家传，做些规范的实用作品，似是理所当然，却偏选一条窄路要《逃跑计划》，做不羁的女子。年纪很轻，对材料却拿捏老道，陶瓷装置有蚕丝之华泽，有宣纸之韧润，有飞檐走壁的神力，有昌江的丽日朗照。

蒋贞蕾，从柳宗元的永州《小石潭记》走来，以白色的帆布构筑水声凌冽、鱼影摇曳的装置空间。感慨时间流逝、故人不在，不惜乱笔挥洒，不惜切割帆布，禅的空白何其隐忍又直白。有空有洞的帆布和蔓缀的棉线缠绵，目光在几何的数理里，游走。不是水墨，更是水墨。

2024年的春天，在美国伊利诺伊州西北大学附近的晓空间艺术，有幸看到如此丰富的以水墨为根的作品，向水墨传统致敬。无论身在哪里，有水墨的地方，就是我们的故乡。

蒋贞蕾

2024年3月1日

 

Preface

A living artistic tradition is formed by constantly extending and broadening its boundaries. Four Chinese artists who are deeply nourished and influenced by traditional Chinese ink art (two of whom are in the United States and two in China) use different languages, materials, and imaginations in their encounters with ink, opening up new spaces and generating new pictures. In seemingly different directions, the artists return to a striking visual language that we recognize as Eastern.

Wen Xie was born in the extreme cold of Northern China, and now lives in Suhang, a beautiful, warmer area. She received traditional ink painting training since childhood and is very adept at linear strokes. In this exhibition, she uses ink techniques combined with watercolor painting to depict flowers, birds, fish, cats, and various other forms of life. Over the past 20 years, she has persevered on her artistic path and continued to create, advocating that she should be confident, proud, and indeed courageous enough to declare “I am a mountain!”

Zelene Jiang Schlosberg

March 1, 2024

 

我原本就是一座高山

谢雯

传统中国水墨在很多人的心中早已登峰造极，如高山一般不可逾越。作为当代艺术工作者，我力求在水墨方面有所创新，但这也只是我自以为是的“创新”，有可能我走过的路，别人都已经走过了。在有些人眼里，我的绘画方式非常“传统”，在另一些人眼里，我早已“当代”很久了，因观者不同而异。

在本次参与展览的八幅作品中，我融合了中国水墨技法与西方水彩技法于一体。在整体上具像，在意识形态和表达方式上略显抽像。其中《相依为命》、《鱿鱼游戏》、《玛丽的天使》、《美丽事物的代表》四幅作品用了纯粹的水彩颜色和材料，但技法是揉合中西的。而《午后的惬意时光》、《在一起》、《梳洗》、《橘猫》四幅作品则用了国画颜色及材料。材料不同，表现和绘画方式也会相异。我很喜欢这种在不同画种交叉的灰色区域，进行自由探索的感觉。所以，我不会过于在意自己有没有创新，更不会在意我画的是什么画种，是中式？还是西式？是传统？还是当代？

相较于这种种限定和标签化，我更在意的是我内心的真实想法，在面对一个物像或者创作时，我会思索，用什么表现方式能更好地表达它，这是我更在意的事。当然，我目前还没有从对“审美”的执着中脱离出来，在绘画时，我喜欢加入一些“物哀”和“侘寂”，有时也会有“批判”和反思。以及一些我对人生的思考与对现实事件的追问，这些特点同样体现在我的摄影和诗歌中。

“我原本就是一座高山”是一部电影的名字，我很喜欢这句话，我觉得，在面对绘画和艺术创作的时候，我们不能有权威和阶级意识，高山不一定要逾越——可以绕过它；低谷不一定要远离，可以探索它。我们每个人都可以是高山，可以是低谷，也可以是溪流……

Wen Xie

Traditional Chinese ink painting has already reached its peak in the minds of many people, and is as insurmountable as a mountain. As a contemporary art worker, I strive to be innovative in ink painting, but this is just my self-righteous “innovation”. It is possible that the road I have traveled has been traveled by others. In the eyes of some people, my painting method is very “traditional”, while in the eyes of others, I have been “contemporary” for a long time. It depends on the viewer.

Among the eight works participating in this exhibition, I combined Chinese ink painting techniques with Western watercolor techniques. It is concrete on the whole, but slightly abstract in terms of ideology and expression. Among them, four works, “Dependence”, “Squid Game”, “Mary’s Angel” and “Representation of Beautiful Things”, use pure watercolor colors and materials, but the techniques are a blend of Chinese and Western techniques. The four works “Comfortable Time in the Afternoon”, “Together”, “Grooming” and “Orange Cat” use the colors and materials of traditional Chinese painting. Different materials will lead to different expressions and painting methods. I really like the feeling of free exploration in the gray area where different painting types intersect. Therefore, I don’t care too much about whether I am innovative, let alone what type of painting I paint. Is it Chinese style? Or Western style? Is it tradition? Or contemporary?

Compared with such limitations and labels, I care more about my true inner thoughts. When faced with an object or creation, I will think about what expression method can better express it. This is what I care more about. Things you care about. Of course, I have not yet broken away from my obsession with “aesthetics”. When painting, I like to add some “mono-sorrow” and “wabi-sabi”, and sometimes “criticism” and reflection. As well as some of my thoughts on life and questioning of real events, these characteristics are also reflected in my photography and poetry.

“I am originally a mountain” is the name of a movie. I like this sentence very much. I think that when facing painting and artistic creation, we cannot have authority and class consciousness. Mountains do not have to be crossed – they can Get around it; the lows don’t have to be far away, they can be explored. Each of us can be a mountain, a valley, or a stream…

《相依为命》，纸本水彩24X32cm，2023年，谢雯

《鱿鱼游戏》，纸本水彩，24X32cm，2023年，谢雯

《美丽事物的代表》，纸本水彩，24X32cm，2023年，谢雯

《玛丽的天使》，纸本水彩24X32cm，2023年，谢雯

《在一起》，纸本设色，25.2X18.2cm，2024年，谢雯

《午后的惬意时光》，纸本设色，25.2X18.2cm，2024年，谢雯

《梳洗》，纸本设色，25.2X18.2cm，2024年，谢雯

《橘猫》，纸本设色，25.2X18.2cm，2024年，谢雯

谢雯，独立艺术家，出生于1979年12月27日，字雨休，号未央斋主人，浙江杭州人，祖籍为黑龙江省。从事绘画创作、摄影以及先锋诗写作。主攻中国画工笔人物，兼画山水、花鸟、走兽等。现工作生活于杭州。

多篇学术论文和艺术作品发表于《美术报》《湖州日報》《理论学术研究》《青年文学家》《中国画画刊》等期刊杂志。其作品多次参加国内外展览，以及上拍于中国嘉德、西泠印社拍卖。

Wen Xie, an independent artist, was born on December 27, 1979, with the courtesy name Yuxiu and the nickname Weiyangzhai Master. She is a native of Hangzhou, Zhejiang, and her ancestral home is Heilongjiang Province. Engaged in painting, photography and avant-garde poetry writing. He specializes in traditional Chinese painting of meticulous figures, as well as landscapes, flowers, birds, animals, etc. Currently working and living in Hangzhou.

Many academic papers and artistic works have been published in journals such as “Art Newspaper”, “Huzhou Daily”, “Theoretical Academic Research”, “Young Literary Writers”, and “Chinese Painting Magazine”. His works have participated in many domestic and foreign exhibitions, and have been auctioned at China Guardian and Xiling Seal Society.

张明

中国传统水墨画的特点追求骨法用笔、气韵生动，讲究留白，所表现的题材也多为山水、花鸟虫鱼、道释人物。我一直深入研究和学习八大山人和黄宾虹的山水，吴昌硕的花鸟，以及当代画家朱振庚的艺术创作。也非常赞同朱振庚“与古人通，传现代神；于传统中识现代，于现代中醒传统。”的艺术创作观点。

我长期生活和工作在中国的南方，经常可以目睹大雨过后的滔滔江河，充满了荡涤一切的雄强气魄；又能感受到森林深处空气氤氲，呈现出一层又一层虚怀朦胧的柔美。自然的雄强与柔美就像是一双无形的手，牵引着我创作的灵感，一手拽着传统，一手伸向当代。我在吸收优秀传统水墨艺术精髓的基础上，也不断加强书法练习，但是艺术创作时不再是单一的用笔调和墨与水在宣纸上创作，而是运用水与墨在生宣纸上重复地碰撞，是经意的，也是不经意的，生发出许多玄妙的意境，并在此基础上再创作。在题材和内容上不拘泥于前人的山水或者是花鸟，而是融入更多的中国文化内涵，加入甲骨文以及图腾、岩画等元素。甲骨文本身就是中国最早成系统的象形文字，与图腾和岩画一样朴拙，当水与墨在生宣纸上生发出氤氲淋漓之气时，再把甲骨文或图腾或岩画融入其中，并融合现代构成艺术形式，表现出既不是具象也不完全抽象的当代绘画语境，拓展了传统水墨艺术的语言，形成了一种全新的中国书画一体的艺术表现形式。以此表达我心灵深处“万物皆存”，人与自然和谐统一的思想。

例如我在创作《协奏曲系列》扇面水墨作品中，采用中国最为典型的扇面这一传统形式，以小见大，在水墨构成中融入甲骨文等中国传统艺术元素。有人、天、神，有自然、动物、植物，有云、雨、电等等，他们在画面中既是绘画元素同时也是绘画主体，呈现出黑白灰多个层次，通过点线面的交集表现出不同的艺术主题：有《远方》《秘境》《遗痕》，有《黎明》《晨雾》《祈祷》，在《寻迹》，在《占天卜地》，在《澄怀观道》，在述说《远古的传说》。我像是在对自然对观者倾诉，也是在对自己内心倾述，通过文字和画面回望过往，我们一生一世、一朝一代是多么的渺小，多么的短暂，在自然的协奏曲中我们最多是其中的一个小小的音符。

Zhang Ming

The characteristics of traditional Chinese ink painting are the pursuit of bone brushwork, vivid rhyme, and blank space, and the themes expressed are mostly landscapes, flowers, birds, insects, fish, and Taoist figures. I have been deeply studying and studying the landscapes of Bada Shanren and Huang Binhong, Wu Changshuo’s flowers and birds, and the artistic creations of contemporary painter Zhu Zhengeng. I also very much agree with Zhu Zhengeng “communicate with the ancients and pass on the modern gods; Recognize the modern in the tradition, and awaken the tradition in the modern. “.

I have lived and worked in the south of China for a long time, and I can often witness the surging rivers after heavy rains, full of majestic spirit that sweeps everything. You can also feel the air in the depths of the forest, showing layer after layer of hazy softness. The majesty and softness of nature are like a pair of invisible hands, pulling the inspiration of my creation, dragging the tradition with one hand and reaching out to the contemporary with the other. On the basis of absorbing the essence of excellent traditional ink art, I also continue to strengthen my calligraphy practice, but when I create art, I do not use a single pen to blend ink and water to create on rice paper, but use water and ink to repeatedly collide on raw rice paper, which is intentional and inadvertent, giving birth to many mysterious artistic conceptions, and re-creating on this basis. In terms of subject matter and content, it is not confined to the landscapes or flowers and birds of the predecessors, but integrates more Chinese cultural connotations, adding oracle bone inscriptions, totems, rock paintings and other elements. When water and ink are born on the raw rice paper, the oracle bone inscription or totem or rock painting is integrated into it, and the modern composition art form is integrated, showing the contemporary painting context that is neither figurative nor completely abstract, expanding the language of traditional ink art, and forming a new artistic expression of Chinese calligraphy and painting. In this way, I express the idea that “all things exist” and that man and nature are in harmony and unity.

For example, in the fan-surface ink works of the Concerto Series, I use the most typical traditional form of fan in China, and I use the small to see the big, and integrate traditional Chinese art elements such as oracle bone inscriptions into the composition of the ink paintings. People, heaven, gods, nature, animals, plants, clouds, rain, electricity, etc., are both painting elements and painting subjects in the picture, presenting multiple levels of black, white and gray, showing different artistic themes through the intersection of dots, lines and surfaces: “Distance”, “Secret Land”, “Traces”, “Dawn”, “Morning Mist”, “Prayer”, “Traces”, “Heaven and Earth”, “Chenghuai Guandao”, and “Ancient Legends”. I seem to be confiding in nature to the viewer, but also to my own heart, looking back at the past through words and pictures, how small and short our lives and generations are, and in the concerto of nature, we are at most a small note.

《协奏曲》,材料：宣纸、水、墨，尺寸：30cmX60cm，2023年份，张明

《秘境》,材料：宣纸、水、墨，尺寸：30cmX60cm，2023年份，张明

《澄怀观道》,材料：宣纸、水、墨，尺寸：30cmX60cm，2023年份，张明

《远古的传说》,材料：宣纸、水、墨，尺寸：30cmX60cm，2023年份，张明

张明，号疑园堂主，湖南科技学院美术与艺术设计学院客座教授 ，1975年出生于湖南，自幼喜爱书画，潜心追慕中国书画艺术，追求甲骨文艺术与水墨融合的当代艺术形式，出版专著《走进汉字》和《综合创意》，个人的书画作品多次参加国内外的专业学术作品展并被机构和个人收藏。

金楠稀

在讨论艺术时，童年的话题经常被提及，有些人指出童年的经历，包括创伤，如何成为他人 灵感的源泉。回顾我的童年，我真的感到非常幸运。作为独生子女，我对父母给予我的美 好成长环境深表感激。然而，有一个方面让我觉得不太理想，那就是必须练习毛笔字。即 使在今天，一回到家，完成 100 格的毛笔字也是头等大事。通过艺术创作，我努力探究童 年经历对我的影响。 

在这件特别的作品中，我使用粘土作为媒介，传达传统毛笔字和水墨画的精髓。粘土象征 着童年的泥土欢乐和挑战，以及成长过程中遇到的挣扎。每一笔每一画都承载着我成长岁 月的记忆和情感。虽然练习书法曾是我勉强忍受的一项任务，但现在我认识到它是我艺术 创作灵感的重要来源。此外，这幅作品也是我对父母由衷的敬意，尽管他们强迫我练习毛 笔字，但最终给了我一个快乐的童年。

Nanxi Jin

When it comes to discussing art, the topic of childhood often arises, with some noting how childhood experiences, including traumas, can serve as sources of inspiration for others. Reflecting on my childhood, I feel truly blessed. As an only child, I am deeply appreciative of the wonderful upbringing my parents provided me with. Nevertheless, the one aspect that stands out as less than ideal was the mandatory practice of brush lettering. Even today, upon returning home, completing a 100-frame brush writing sheet takes precedence. Through my art, I have endeavored to delve into the impact of my childhood experiences.

In this particular piece, I employ clay as a medium to convey the essence of traditional brush lettering and ink painting. The clay serves as a symbol of the earthy joys and challenges of childhood, as well as the struggles encountered while growing up. Each brushstroke and every stroke of paint carries with it the memories and emotions of my formative years. Although practicing calligraphy was once a task I begrudgingly endured, I now recognize it as a significant source of inspiration in my artistic endeavors. Furthermore, this piece serves as a heartfelt tribute to my parents, who, despite enforcing the practice of brush lettering, ultimately provided me with a happy childhood.

《逃跑计划》, 陶瓷, 12 x 8 x 9 英尺, 2022, 金楠稀

《逃跑计划2》, 陶瓷, 12 x 8 x 9 英尺, 2022, 金楠稀

金楠稀是一位用粘土创作的跨学科艺术家。她目前在芝加哥生活和工作。2020 年，她从纽约州立 阿尔弗雷德大学陶瓷学院获得艺术设计学士学位。2022 年，她从芝加哥艺术学院毕业。她的作品 曾在多个展览中展出，包括 Ceramic Art Avenue Gallery(2019)、2021 年纽约设计周期间的 NYCxDesign、:iidrr Gallery(2023)。她曾获得 2022 年 “石湾杯”青年陶艺大赛一等奖、第十二届 中国陶瓷艺术展银奖和中国民族工艺美术大赛银奖。作品《百变花瓶》被广东石湾陶瓷博物馆收藏。

Nanxi Jin is an interdisciplinary artist who works with clay. She currently lives and works in Chicago. She obtained a BFA in Art & Design from New York State College of Ceramics at Alfred University in 2020. She graduated from the School of Art Institute of Chicago in 2022. Her works have been exhibited in multiple exhibitions, including Ceramic Art Avenue Gallery (2019), NYCxDesign during New York Design Week 2021, :iidrr Gallery (2023) She received the First Prize in the 2022 “Shiwan Cup” Youth Ceramics Competition, Silver Medal of the 12th Chinese Ceramic Art Exhibition and Silver Award for China Ethnic Arts and Crafts Competition. Her work “Various Vase” has collected in the Guangdong Shiwan Ceramic Museum.

 

隐喻的空白

蒋贞蕾

我的作品在绘画和雕塑之间摇摆不定，给观众带来一种沉默但明显的介于形式之间的体验，对线条和建筑的关注始终存在。

我采用的一些不寻常的技术包括切割、包裹和缝合。木板上的孔、宣纸、简单的钉子、悬垂的石头和帆布本身都是历史悠久的技术和材料，它们的作用不是装饰性的，而是在解决对象性、短暂性以及脆弱性的强大美学问题上发挥着核心作用。

对我来说，空虚是隐喻性的，带有一丝脆弱。这种空虚说明了自我受到外部和内部力量围攻的体验，其结果是最终的流动性和自由是困难的。在我的作品中，移动性并不是我关注的重点，包裹和穿线的动作使物件无法移动。这在移动的欲望与作品的基本静止之间产生了一种紧张感。

一种苦行般的品质无处不在，这不仅仅是因为简约的调色板和最少的材料的使用。由于我对中国历史和当代作家的阅读，以及对传统书法的重新研究，东方寺庙美学一直在我的脑海中萦绕。这些悬挂的石头旨在传达一种深刻的脆弱感，并探索重力和升力问题。有些作品具有准民间元素，类似于对失落文明或民族的再现，具有发达的符号和符号系统。

Zelene Jiang Schlosberg

My work dangles precipitously between painting and sculpture, bringing the viewer the silent but palpable experience of being between forms, with attention to line and architecture always present.

Some unusual techniques I employ include cutting, wrapping and stitching. Holes in panels, pieces of rice paper, simple nails, dangling stones and the canvas itself are time-honored techniques and materials that function not ornamentally but rather centrally in addressing issues of objecthood, of transience, as well as the powerful aesthetics of fragility.

For me, the emptiness is metaphorical with a hint of vulnerability. That void speaks to the experience of a self under siege from powers both external and internal, with the result that ultimate mobility and freedom is difficult. Physical mobility in my work is not a preoccupation, and the act of wrapping and threading renders them immobile. This creates a sense of tension between the desire to move versus the works’ essential stasis.

An ascetic quality pervades, and not just due to the pared down palette and use of minimal materials. Eastern temple aesthetics are much on my mind, due to my readings of historical and contemporary Chinese writers, as well as my renewed study of traditional calligraphy. The stone pouches are meant to convey a deep sense of vulnerability as well as exploring issues of gravity and lift. There is a quasi-folk element to some of the pieces, akin to a recreation of a lost civilization or people, with a developed system of signs and symbols.

《歪斜》，线、帆布、钉子和墨水，56x53x7.6 厘米，2020年，蒋贞蕾

《火花》，帆布，丙烯，棉线，金属线，106.7x61x5厘米，2018年，蒋贞蕾

《海报》、丙烯、木板、帆布，棉线和钉子，53x28x7.6厘米，2019年，蒋贞蕾

《ECF9》、帆布，棉线、钉子、石头， 25x25x3.81厘米，2019年，蒋贞蕾

《拆》，帆布，棉线、铁钉，53x53x7.6厘米，2019年，蒋贞蕾

《策略》，帆布，棉线、铁钉，50x58x5厘米，2019年，蒋贞蕾

《选择》，帆布，棉线、铁钉，53x50x7.62厘米，2019年，蒋贞蕾

蒋贞蕾出生于湖南永州，毕业于北京师范大学。灵感常来自于建筑和当代古典新音乐。独展包括“一个阳光灿烂的下午”（伊利诺伊州立大学芝加哥分校，2012），“过渡景观”（密苏里州北中央学院，2019），“悬崖”（伊利诺伊州东中央学院，2019），“无间之距”（英国伦敦沃尔特画廊，2021），“后城市游荡”（纽约美华艺术协会456画廊, 2021）。为“芝加哥雕塑国际” 等机构成员。参加多个国际和美国的艺术群展，包括美国周氏兄弟艺术中心、亚洲艺术研究所、韩国CICA美术馆和英国皇家雕塑家协会。她的作品《方向 #0》是作曲家约翰·利伯托雷2018 年CD 专辑《线画》的封面艺术。她的作品《沉思》是格莱美奖获奖乐团 “第三海岸打击乐”2023 年CD专辑《呼吸之间》的封面艺术。蒋贞蕾是迈阿密艺术博览会和洛杉矶艺术博览会的多年参展艺术家。

Zelene Jiang Schlosberg, a Chicago-based visual artist, is renowned for art that blurs the line between painting and sculpture. Solo exhibitions include Chinese American Arts Council Gallery (NYC), North Central College (Illinois), University of Illinois at Chicago, East Central College (Missouri) and Woldt Gallery London. She has participated in numerous group shows, including Chicago Sculpture International, The Research House for Asian Art, Zhoub Art Center, The Art Center-Highland Park, CICA Art Museum Korea, and The Royal British Society of Sculptors in London. Her painting “Directions #0” was featured on the cover of composer John Liberatore’s 2018 debut CD album, “Line Drawings” (Albany Records), and her work “Contemplation” serves as the cover art for Grammy-Award winning Third Coast Percussion’s latest album, “Between Breaths,” released in September 2023 (Cedille Records). She has been a multi-year participant at Context Art Miami and Los Angeles Art Show.

《国际艺术新闻网》记者汪恩波