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“在今天,绘画是什么?”当我们在观看梁远苇的作品时,这不是第一个会浮现在脑海的问题,往往我们更多被她画面中闪烁的花朵、笔触或规律的渐变色块牵引着观看,如果从一种形式主义的角度出发,作品与作品之间既显得独立又散发出耐人寻味的关联。然而,对于艺术家来说,开篇的问题是她终日劳作的出发点。对绘画本体的思考让梁远苇选择了简化画面再现性和叙事性,在极简主义基础上发展出来接近科学实验的工作方法,她通常把个展的所有作品视为一件创作,过程和结果的并置让抽象的叙事有
“What is painting today?” "This is not the first problem that comes to mind when we watch Liang Yuanwei’s work. Often, we are more blinded by the flowers in her picture, brushwork or regular Gradient blocks pull the watch, if from a formalist perspective, works and works both appear independent and emit an interesting association. However, for the artist, the opening question is the starting point for her work all day long. Reflecting on the ontology of painting, Liang Yuan-wei chose to simplify the reproducibility and narrative of the picture and develop a working method that is close to scientific experimentation based on minimalism. She usually treats all works of the solo exhibition as an authoring, process and result The juxtaposition of abstract narrative has