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严支胜是一位关注“当代性”的青年艺术家,然而,他始终疏离着“炫技”与“赶潮”的叙述方式,而是从生活中的瞬间感触破门而入。衣服、城市、阵风本是平凡事物与一晃而过的场景,一经定格与放大,其认读的过程与存在的游离便会击痛我们,因为不经意的“美好”却每每被我们忽略而使生命缺失应有的厚度。一方面,画家本人对工具材料与画面元素有着极为恰当的摆位与敏感到近乎神经质的经验捕捉,其图式貌似记忆的还原却引发出一种富有隐喻的情怀,从而使画面语境新颖而富于个人特质。另一方面,当我们介入画面时,作为观者,你可以内应到时空流转的脉动,画面中的物或事与画家业已不是“问答”的被动关系,全然进入一种暗含情愫的应节而舞,交流的状态成为画
Yan Chih-sheng is a young artist concerned about “contemporaryity.” However, he has always escaped narration of “dazzle-tech” and “tide-surging”, but from the moment of his life Into. Clothes, the city, the gust of wind This is a scene of ordinary things and flash, once fixed and enlarged, the process of its reading and the existence of the free will hurt us because casual “beautiful” is often ignored by us and The lack of life should be the thickness. On the one hand, the painter himself has a very apt position and sensitivity to near-neurotic experience capture of the tool material and the picture element. The reduction of its pictorial memory resembles a wealthy metaphorical feeling so that the context of the picture is novel. Rich in personal qualities. On the other hand, when we intervene in the picture, as an observer, you can respond to the pulse of time and space. The object or thing in the picture is not a passive relationship with the artist, but enters into an implied situation Festival and dance, the exchange of the state to become a painting