ZHANG Peiyun
In The Garden #52 在园中 #52, 2022
Concrete 水泥
14.5 x 17.8 x 3.5 cm x 3
Under close look, the colors and contours of the plant forms and the conductor's hands depicted by ZHANG can be faintly discerned under the flat, dragged, covered, or translucent white...
Under close look, the colors and contours of the plant forms and the conductor's hands depicted by ZHANG can be faintly discerned under the flat, dragged, covered, or translucent white brushstrokes. The "white" in the sculptures is richly and delicately colored by the shapes, cracks, roughness, and smoothness of the surfaces under the light, and the similarities and differences between them highlight the relationship between "the many and the one" in the works - the richness of form, material, and texture and the overall Aura and rhythm of the works.
The Czech writer Bohumil Hrabal depicts the story of the protagonist, Hanja, who sees the basement as an ideal world and turns the experience of being at the bottom of society into a calm love story in Too Loud A Solitude, while ZHANG Peiyun's cosmology – All Things Grown With Love - resonates with the author's reflection on the spirit of the human era and Hrabal’s infinite love for people. In the exhibition "In the Garden," ZHANG Peiyun features the Classical era's order beneath contemporary forms and reexamines the "Garden" as the starting point for human beings and the public field where heaviness, lightness, brokenness, and restoration all contribute to creating a peaceful and soft dwelling place that demonstrates the artist's tenderness and kindness towards all things hidden within. “In the Garden” leads the viewer to experience and sense a world wrapped in silent tenderness and filled with love.
近观之下依稀可辨被掩藏在平涂、拖拽、具有覆盖力、或半透明的白色笔触之下由她所描绘的植物外形及指挥家手的色彩与轮廓，穿插于平面作品中的雕塑由白色水泥形塑而成，雕塑中的“白”在光线下被起伏、龟裂、粗糙与光滑的表面赋予了丰富且细腻的色彩变化，彼此间相似又相异的特征凸显了作品中多与一的关系——形式、材料及肌理的丰富性与作品整体光韵、气息间的融合。
捷克作家赫拉巴尔在《过于喧嚣的孤独》中描绘了主人公汉嘉将地下室视为理想世界、将处于底层的经历化为平静的爱的故事，而处于章佩芸创作概念中心轻柔婉转的宇宙观——万物因爱而生与作者对人类时代精神的反思以及对人无限的爱产生共振。章佩芸在《在园中》中，将古典秩序感藏匿于当代的创作形式之下，重新审视作为人类起点与现代公共场域的“园”， 作品中的沉重与轻盈、破碎与修复共同构建了一处宁静、柔软地栖身之所，述说着艺术家藏匿于其中对万物的温柔与善意，带领观者觉知被无声的温柔包裹与爱意满盈的世界。
ZHANG Peiyun specializes in using minimalist lines and contours in her paintings, but her goal is not just to test the boundaries of contemporary art language, but also to investigate how a classical sense of order can be embedded underneath a contemporary sense of form. Under close look, the colours and contours of the plant forms and the conductor's hands depicted by ZHANG Peiyun can be faintly discerned under the flat, dragged, covered, or translucent white brushstrokes. The "white" in the sculptures is richly and delicately coloured by the shapes, cracks, roughness, and smoothness of the surfaces under the light, and the similarities and differences between them highlight the relationship between "the many and the one" in the works - the richness of form, material, and texture and the overall Aura and rhythm of the works. The artist's works resemble plants in the garden, perched on a wooden stand with unique form and quality. The delicate, firm, and pure white texture of the works, given by the characteristics of the material, is accompanied by a large amount of "white" in the overall space, and the symbolic way of imagination transforms the real and natural forms.
章佩芸的绘画擅长运用极简的线条与轮廓，却并非简单地操练这种当代艺术的语言规范，而是旨在探索如何在当代的形式感之下蕴藏古典时代的秩序感。她的《在园中》系列平面作品，近观之下依稀可辨被掩藏 在平涂、拖拽、具有覆盖力、或半透明的白色笔触之下由她所描绘的植物外形及指挥家手的色彩与轮廓，穿插于平面作品中的雕塑由白色水泥形塑而成，雕塑中的“白”在光线下被起伏、龟裂、粗糙与光滑的表面赋予了丰富且细腻的色彩变化，彼此间相似又相异的特征凸显了作品中多与一的关系——形式、材料及肌理的丰富性与作品整体光韵、气息间的融合。
The Czech writer Bohumil Hrabal depicts the story of the protagonist, Hanja, who sees the basement as an ideal world and turns the experience of being at the bottom of society into a calm love story in Too Loud A Solitude, while ZHANG Peiyun's cosmology – All Things Grown With Love - resonates with the author's reflection on the spirit of the human era and Hrabal’s infinite love for people. In the exhibition "In the Garden," ZHANG Peiyun features the Classical era's order beneath contemporary forms and reexamines the "Garden" as the starting point for human beings and the public field where heaviness, lightness, brokenness, and restoration all contribute to creating a peaceful and soft dwelling place that demonstrates the artist's tenderness and kindness towards all things hidden within. “In the Garden” leads the viewer to experience and sense a world wrapped in silent tenderness and filled with love.
近观之下依稀可辨被掩藏在平涂、拖拽、具有覆盖力、或半透明的白色笔触之下由她所描绘的植物外形及指挥家手的色彩与轮廓，穿插于平面作品中的雕塑由白色水泥形塑而成，雕塑中的“白”在光线下被起伏、龟裂、粗糙与光滑的表面赋予了丰富且细腻的色彩变化，彼此间相似又相异的特征凸显了作品中多与一的关系——形式、材料及肌理的丰富性与作品整体光韵、气息间的融合。
捷克作家赫拉巴尔在《过于喧嚣的孤独》中描绘了主人公汉嘉将地下室视为理想世界、将处于底层的经历化为平静的爱的故事，而处于章佩芸创作概念中心轻柔婉转的宇宙观——万物因爱而生与作者对人类时代精神的反思以及对人无限的爱产生共振。章佩芸在《在园中》中，将古典秩序感藏匿于当代的创作形式之下，重新审视作为人类起点与现代公共场域的“园”， 作品中的沉重与轻盈、破碎与修复共同构建了一处宁静、柔软地栖身之所，述说着艺术家藏匿于其中对万物的温柔与善意，带领观者觉知被无声的温柔包裹与爱意满盈的世界。
ZHANG Peiyun specializes in using minimalist lines and contours in her paintings, but her goal is not just to test the boundaries of contemporary art language, but also to investigate how a classical sense of order can be embedded underneath a contemporary sense of form. Under close look, the colours and contours of the plant forms and the conductor's hands depicted by ZHANG Peiyun can be faintly discerned under the flat, dragged, covered, or translucent white brushstrokes. The "white" in the sculptures is richly and delicately coloured by the shapes, cracks, roughness, and smoothness of the surfaces under the light, and the similarities and differences between them highlight the relationship between "the many and the one" in the works - the richness of form, material, and texture and the overall Aura and rhythm of the works. The artist's works resemble plants in the garden, perched on a wooden stand with unique form and quality. The delicate, firm, and pure white texture of the works, given by the characteristics of the material, is accompanied by a large amount of "white" in the overall space, and the symbolic way of imagination transforms the real and natural forms.
章佩芸的绘画擅长运用极简的线条与轮廓，却并非简单地操练这种当代艺术的语言规范，而是旨在探索如何在当代的形式感之下蕴藏古典时代的秩序感。她的《在园中》系列平面作品，近观之下依稀可辨被掩藏 在平涂、拖拽、具有覆盖力、或半透明的白色笔触之下由她所描绘的植物外形及指挥家手的色彩与轮廓，穿插于平面作品中的雕塑由白色水泥形塑而成，雕塑中的“白”在光线下被起伏、龟裂、粗糙与光滑的表面赋予了丰富且细腻的色彩变化，彼此间相似又相异的特征凸显了作品中多与一的关系——形式、材料及肌理的丰富性与作品整体光韵、气息间的融合。