灰，非黑非白，也有黑有白。它承載二者卻又處于中立地帶。即將在紐約法拉盛市政廳開(kāi)幕的“灰色地帶”當(dāng)代水墨四人展以灰色象征中國(guó)當(dāng)代水墨聯(lián)接歷史與當(dāng)下，兼容東西方文化的特殊地位。
對(duì)于當(dāng)代水墨的探索和爭(zhēng)論一直未曾停止過(guò)，其中對(duì)于應(yīng)該保留多少傳統(tǒng)筆墨而仍然可以被視為中國(guó)水墨大概是最有爭(zhēng)議的話題。
由紐約藍(lán)藍(lán)策劃的“灰色地帶”四人展意在展現(xiàn)傳統(tǒng)水墨在海外的存在狀態(tài)和探索當(dāng)代西方藝術(shù)語(yǔ)境下中國(guó)傳統(tǒng)水墨的未來(lái)走向。四位在紐約居住多年的中國(guó)藝術(shù)家分別以自己獨(dú)特的藝術(shù)語(yǔ)言敘述了對(duì)于當(dāng)代水墨的不同理解和走向。
郭楨作品
早年畢業(yè)于中國(guó)美術(shù)學(xué)院國(guó)畫(huà)系的郭楨 有極為扎實(shí)的傳統(tǒng)國(guó)畫(huà)功底，在其最新作品中大膽剝離具象，使用了全抽象的形式，但充分利用水墨特質(zhì)，完整保留了中國(guó)水墨的情趣與特色。
<冬臨荷塘> 大澤人作品
理論體系完整的大澤人則在西方當(dāng)代藝術(shù)的歷史進(jìn)程中尋找突破點(diǎn)，善用層次豐富的筆墨直接表達(dá)借鑒西方造型的各種對(duì)象，形成頗具個(gè)人風(fēng)格的中西合璧畫(huà)面。
陳向東作品
版畫(huà)出身的陳向東以水墨為實(shí)驗(yàn)媒介，借鑒西畫(huà)之光影明暗，構(gòu)圖打破傳統(tǒng)國(guó)畫(huà)格局，作品當(dāng)代感極強(qiáng)卻又保留了的傳統(tǒng)水墨里的雅趣和意境。
周士凌作品
書(shū)法博士周士凌以自己擅長(zhǎng)的書(shū)法為切入點(diǎn)，突出文字的符號(hào)性和線條的多種運(yùn)用，模糊了書(shū)與畫(huà)，東與西的界限。
此次畫(huà)展旨在引起各方對(duì)當(dāng)代水墨的關(guān)注和學(xué)術(shù)上的探討，希望對(duì)于推動(dòng)海外當(dāng)代水墨能起到一定的積極作用。
Introduction
Grey: a color neither black nor white, yet stands as a neutral color containing both. Grey Zone Contemporary Ink Art Exhibition uses the color grey as a symbol to represent the special position of Chinese contemporary ink art--connecting both the past and present, yet including both Western and Eastern culture.
The exploration and discussion about contemporary ink never stops. Among all arguments, the most controversial topic is likely to be how much traditional ink skills should be retained in a piece to still be called Chinese ink.
Grey Zone Contemporary Ink Art Exhibition attempts to exhibit the current state of Chinese ink art overseas, as well as explore the future possibilities under the influence of Western art. Four Chinese artists, all long time residents of New York, express their understanding and art direction using their own distinct art language.
Zhen Guo? graduated from the Chinese painting department of China Art Academy many years ago, which gives her very strong skills in Chinese traditional ink. However, in her latest works she completely abandons realism, instead choosing abstract forms while still capturing the distinguished features of traditional ink.
Q.X.Wang, an artist with deep understanding at art theory, gets his inspiration from the Western contemporary art history, good at creating all the objects with Western art influence using very rich ink brushes skills, forms his unique style.
Xiangdong Chen, an artist with a background in wood block printing, selects Chinese ink as his new medium to explore. You can spot Western painting concepts in his works, such as light, shadow, three dimensionality, etc. He also evolved from the traditional Chinese painting composition, creating a very contemporary sense yet keeping the elegance and spirits of Chinese tradition.
Siling Zhou, who has a PhD in calligraphy, started with Chinese calligraphy—which he is very skilled in. He explores new forms of art, focusing on the multiple uses of script symbols and lines, blurring the lines between character and painting, West and East.
The purpose for this exhibition is to spark attention and exploration towards contemporary Chinese ink in a larger crowd. We hope to have a positive impact in the development of Chinese contemporary ink art overseas.
