AN ART SPACE
Art and artists Exhibitions and events Artist interview
BOUNDLESS DUST
｜
Foreordination
灭掉自己也是一种瘾！
【茫尘·宿命】
Eliminating oneself is also a kind of addiction!
◎
BOUNDLESS DUST· · · · · · 杨加勇 · · · · · ·FOREORDINATION
坚持置身于鲜活的当下
©Yang Jiayong · Solo exhibition，An Art Space，2019
Artist Statement
● 杨加勇｜茫尘·宿命
Yang Jiayong
Stick to the Live Present
©杨加勇，茫尘·系列21，布面油彩，100×80cm，2018
《茫尘》系列作品是我在17年初就想做的，直到18年末，才在之前的几个系列作品中再生，一直以来我都尊重自己以往的内在感受，这些作品消解了我之前一些符号、语言性的再现，看似灭掉自己虽已成瘾，就像点菜一样换个口味，但主食未变———即‘坚持置身于鲜活的当下’是我在艺术创作上长期取之的动力和源泉。
——杨加勇
— YANG JIAYONG —
◇— Practitioner's Ferry —◇
© Yang jiayong·An Art Space
版权所有：杨加勇｜一甸艺术空间
······· ·······行者的修渡······· ·······
Practitioner's Ferry······· · ·······Practitioner's Ferry
形别之后的精神重注
文/惠书文
Article/Hui Shuwen
Introduction
序 言
绘画艺术自其诞生以来就作为一种忠实于客观物象自然发育的生命形态和表征呈现，艺术家面对客观物象或虚拟物像多采用经个体高度概括与提炼的具象图形进行特质语言方式表现和释义。
Since its birth, the art of painting has been presented as a life form and representation that is faithful to the natural development of objective objects. In the face of objective objects or virtual objects, artists often use specific graphics highly summarized and refined by individuals to express and interpret the characteristics of language.
©杨加勇，茫尘·系列18，布面油彩，80×60cm，2018
艺术家安塞姆·基弗：艺术本身包含有某种自我毁灭的成分。杨加勇的绘画艺术从早期的“叙事性”画面逐渐衍蜕成“无序”情境，这显然是艺术家历经现实环境变化与迁移的体悟。也是个人对绘画在某一阶段于固定既有形象的浓缩与精炼、概括与简化，而对于绘画高压防线的坚守打破与冲击，其本身蕴含的力量不言而喻，语言方式个性、犀利、鲜明。
Anselm kiefer, artist: art itself has an element of self-destruction. Yang jiayong's painting art gradually evolved from the early "narrative" picture into a "disorderly" situation, which is obviously an artist's understanding after the changes and migrations of the real environment.
©杨加勇，茫尘·系列7，布面油彩，137×140cm，2018
As well as the individual's concentration and refinement, generalization and simplification of painting in a certain stage in the fixed existing image，as for the breaking and impact of the high-pressure line of painting, its inherent power is self-evident, and its language style is characteristic, sharp and distinct.
©杨加勇，茫尘·系列3，布面油彩，150×130cm，2017
一.寻“隐者”，无欲
Chapters I：Seek "hermit", do not have desire
在现实生活中，杨加勇一直在寻找隐匿于其身后的某个人，这个人并不是我们耳熟能详的哪位大师或者艺术家，而是在寻找自己。此刻他的实地位置将被取代和腾挪，“隐者”的身份则若隐若现的闪过，身份的不确定性和模糊力始终牵引着他潜意识里不断被现实空间挟裹的“无欲”。
©杨加勇，茫尘·系列1，布面油彩，100×80cm，2017
In real life, Yang jiayong is always looking for someone hiding behind him, who is not the master or artist we are familiar with, but looking for himself. At the moment, his physical position will be replaced and removed, and the identity of the "recluse" will flash by, and the uncertainty and ambiguity of the identity will always pull him to the "undesired" in the subconscious which is constantly enveloped by the real space.
©杨加勇，茫尘·系列5，布面油彩，100×80cm，2017
欲念的输出源于人之本性：焦虑、期许、迷茫、失望……杨加勇对待绘画的释义深度和行为方式似行者一般在自我塑制的“狭窄”空间里恒定的潜行修渡，经过的每一处地都将成为他继续探索绘画奥秘的动力所在，主体的客观性派生出作品新的可能性。
©杨加勇，茫尘·系列12，布面油彩，80×60cm，2018
The output of desire comes from human nature: anxiety, expectation, confusion, disappointment... Yang jiayong's interpretive depth and behavior style of painting are similar to that of a traveler, who always works on his own in the "narrow" space of self-shaping. Every place he passes through will become the motivation for him to continue to explore the mystery of painting, and the objectivity of the subject derives new possibilities of the work.
©杨加勇，茫尘·系列8，布面油彩，80×80cm，2018
他的每一件作品既是个体内心心无旁骛对周遭环境的敏锐辨识，画面挚诚关照的表达方式在虚拟现实面前同时并进，也是他对绘画在现实语境、环境下如僧侣般虔诚修诣和真实表述的察观态度。寻“隐者”，无欲——是为其人，亦是其作。
©杨加勇，茫尘·系列10，布面油彩，130×80cm，2018
Each of his works is not only an individual's keen identification of the surrounding environment with no distractions, but also his observation attitude towards the monk-like devotion and true expression of paintings in the real context and environment. To seek a hermit is to do as he does.
二.空白-底色(错位经纬)
Chapters II：Blank-background
绘画在技术层面上，是一种以普质的语素表面作为经纬线相链接，继而在画面中形成另一类重新架构原有支撑面的艺术形式。杨加勇诠释的对象有着“无形、虚妄”的错位感，轻松的线性编织的疏密感在合适地带无不尽其所能跳跃和疯癫。
©杨加勇，茫尘·系列17，布面油彩，80×60cm，2018
On the technical level, painting is a kind of art form that links the surface of morpheme with latitude and longitude lines, and then forms another kind of art form that restructures the original supporting surface in the picture. Yang jiayong's interpretation of the object has a "invisible, false" sense of dislocation, the ease of the linear woven sense of density in the right area of endless jump and madness.
©Yang Jiayong · Studio，An Art Space，2019
回归到画面中具体元素之时，亦可找寻出某种不确定的形象，他不仅限于物象的简单变形，而是抓取了形与趣的妙然之关联，警惕并丢弃所谓的雕虫小技之把戏，捕获象与物、巧和意紧密结合的灵魂幻象。
©杨加勇，茫尘·系列2，布面油彩，100×80cm，2017
When returning to the specific elements in the picture, he can also find some uncertain images. He is not limited to the simple deformation of the object, but has grasped the wonderful connection between shape and interest, guarded against and abandoned the so-called tricks of trifles, and captured the soul illusion that the image is closely combined with the object, coincidence and meaning.
©杨加勇，茫尘·系列6，布面油彩，130×80cm，2018
艺术家在画面布局中推究少许物象在二维空间中随性摆放的位置，他们相互迁移浮动，彼时的物象定点散落于画面中每一处，错乱游走的线条在暗影之下愈发明朗和准确。
In the layout of the picture, the artist deduces the position of a few objects randomly placed in the two-dimensional space. They move and float each other. At that time, the fixed points of objects are scattered everywhere in the picture.
©杨加勇，茫尘·系列15，布面油彩，130×80cm，2018
杨加勇充分利用清代书法家邓石如提及的“计黑当白”的思想表达和观念要义：在画面虚空（空白）之处，当作实画一样精心布置雕琢，虽无明显强烈底色，却是构成画面整体中的一个重要有机部位。调制的外部多种颜色与本色相衔接交融，散发着异样面貌。
©杨加勇，茫尘·系列14，布面油彩，100×80cm，2018
Yang jiayong made full use of the ideological expression and conceptual significance of "planning black while white" mentioned by deng shiru, a calligrapher in the qing dynasty: in the empty (blank) part of the picture, it was elaborately arranged and carved as a real painting. Although there was no obvious strong background color, it was an important organic part in the whole picture. The exterior of modulation a variety of color and ecru photograph join blend, sending out different appearance.
©杨加勇，茫尘·系列13，布面油彩，80×60cm，2018
杨加勇具备把握画面空间分割的辩证眼力，他利用随意涂抹后残余的空白之地与形状规则不同的线条、颜色运动之间的辩证统一，进而取得虚实相生、“知白守黑“的妙义之髓。所谓“肆力在实处”，“索趣乃在虚处”，在“实里求虚，虚中求实”的矛盾法则之中，色与线、光与影、形与象皆得到尽可能的呈现，而怪诞幽涩的画面格调则充满了独特的神秘性和别致的讽刺性。
©杨加勇，茫尘·系列16，布面油彩，80×60cm，2018
Yang jiayong has the dialectical vision to grasp the division of the picture space. He USES the dialectical unity between the residual blank space and the lines and color movements with different rules after daubing at will, thus achieving the essence of the wonderful meaning of "knowing the white and keeping the black". The so-called free force is in the real place, the pursuit of interest is in the empty place, and in the contradictory laws of seeking the empty in the real and seeking the real in the virtual, color and line, light and shadow, form and image are all presented as far as possible, while the grotesque and obscure picture style is full of unique mystery and unique irony.
©杨加勇，茫尘·系列23，布面油彩，180×130cm，2018
他的绘画语言消迭了繁缚冗长的故事文本情景描述，转以替之他者的述意传音。杨加勇擅于运用“模糊”、“混沌”、“意象”的元素直抵画面的视觉中心，和人类灵感地带的心磁力场产生某种痛楚共鸣，并将此时的物和象在平铺直叙的言语诉说关系中进行重新规制和多向定位。
©杨加勇，茫尘·系列22，布面油彩，236×68cm，2018
His language of painting eliminates the long narrative text descriptions of scenes and replaces them with the narration of others. Yang jiayong is good at using the elements of "ambiguity", "chaos" and "image" directly to the visual center of the picture, and generating some kind of pain resonance with the magnetic field of the heart in the zone of human inspiration, and re-regulating and positioning the object and image in the relationship of verbal expression in a plain and straightforward way.
©杨加勇，茫尘·系列24，布面油彩，130×80cm，2018
三.光·谜
Chapter III：Light and mystery
上帝说：“要有光”，就有了光。
And god said, let there be light; and there was light.
©杨加勇，茫尘·系列4，布面油彩，150×130cm，2017
光是我们每个个体体验、认识这个世界的基础，也是我们感官真实体悟万物的本源。光的本质是一种处于特定频段的光子流，在跃迁过程中有特定的轨道航线，面对杨加勇的作品亦可以在光亮的运行轨迹上觅得一条隐秘的线，这条线含糊不晰，或大或小，或圆或方含藏于起始色中。
Light is the basis for each of us to experience and know the world. It is also the source for us to truly understand all things through our senses. The essence of light is a photon stream in a specific frequency band, which has a specific track in the transition process. Facing Yang jiayong's work, it is also possible to find a hidden line on the running track of light, which is ambiguous and hidden in the initial color, either large or small, or round or square.
©Yang Jiayong · Solo exhibition，An Art Space，2019
再去追究的话我们或许能意会到进入他设定的一个局，这个局，迷人，但不是谜。艺术家在释放着内心不稳定的情绪，到一燃点继续生发着能量。
To pursue it further we may be able to sense that he has entered a set of the game, the game, charming, but not a mystery. The artist releases his inner unstable emotions and continues to generate energy at the flash point.
©杨加勇，茫尘·系列20，布面油彩，80×60cm，2018
新作《茫尘》系列18，迂回盘绕的丝线和块面不断激发着我们的兴奋点，也许路径会因引力场震动而偏折，却恰如其分的回到最初的状态：我们在黑暗中摸索，直到迎来黎明——而对于光本质的理解，谜一样的局，我们也同样经历了痛苦、挣扎的过程。
"BOUNDLESS DUST" series 18, circuitous coiled strands and block face continue to inspire our excitement, path might be due to the gravitational field vibration and bending, but appropriate return to original state: we grope in the dark, until the usher in the dawn - and to understand the nature of light, enigmatic, we also experienced pain and struggle process.
©杨加勇，茫尘·系列9，布面油彩，130×80cm，2018
四.灵力与梦境
CHAPTER IV：Spirituality and Dream
杨加勇的语言方式是对客观物体表征主观的转译及提取，他谋化着自我绘画走过一阶段可能出现的一切印记并将其记录下来。画面中隐现出来的色彩浓度饱满丰厚、笔触张力肆意无穷，语言提纯润化的密集度无不暗含着艺术家对现实空间和生活状态的紧张不安与思虑矛盾，这种气势磅礴的力量扩张性在他的作品中不断变异和升华，也是形别（Rupabheda）之后的精神重注。
Yang jiayong's way of language is the translation and extraction of the subjective representation of the objective objects. He tries to record all the marks that may appear in the process of self-painting.Images in a full rich color concentration, looming out of tension is wanton endless stroke, which implies the intensity of language purification RunHua artists to the real space and living state of nervous and contemplation, the power of the majestic expansionary variation and sublimation in his works, and form don't (Rupabheda) after the spirit of big bets.
©杨加勇，茫尘·系列19，布面油彩，100×80cm，2018
对于梦境的审视，在作品《空欲-八大山人梦系列2》可见一斑，空欲绘写着人类在当代社会消费意识形态进程中迷失自我生命本体的特质，以及充斥各色欲望的影射、拷问。
The examination of dreams can be seen in the work "empty desire -- the dream of eight mountain people series 2", which depicts the characteristics of human beings' loss of their own life noumenon in the process of consumption ideology in contemporary society, as well as the innuendo and torture of various desires.
©Yang Jiayong · Solo exhibition，An Art Space，2019
当人类舍弃肉体后，而依靠精神“存活“与共同的“精神世界”时，个体的灵力就会悄然降临，使其精神力用来在自我的精神世界中行走飞行。“八大山人”名称的引用则是艺术家起于对明末清初杰出画家朱耷经典诗画的致敬追忆，体现了画家性情感受的直观露骨和率性直为的真切呈现。
When human beings abandon the body and rely on the spirit to "survive" and the common "spiritual world", the individual spiritual force will quietly come and make its spiritual force to walk and fly in the spiritual world of self. "Da da shan ren" is a reference to the classic poems and paintings of zhu da da, an outstanding painter in the late Ming and early qing dynasties, which reflects the intuitive, explicit and straightforward feelings of the painter.
— YANG JIAYONG —
◇— Daily life of artist —◇
© Yang jiayong·An Art Space
版权所有：杨加勇｜一甸艺术空间
梦境在灵力的介入后更强化了他用笔法以艺术性手法使用颜色和画笔在对象相似性上的诸量（Pramanam)，在古希腊时期，人们对宇宙、自然知之甚少，坚信有不可抗拒的力量在主宰命运。悲剧《俄狄浦斯王》是一部典型古希腊时期悲剧代表作，也是命运悲剧的最高诠释。换言之，杨加勇孩童时期的学习环境相较于多数学艺人来说更是一个巨大的“历经悲剧式命运”的艺术家，跌宕起伏的成长经历无疑从侧方定基了他现今能够坦然面对社会现实和直视所在生活环境变迁的极大决心和毅力！灵力与梦境的关联性在他身上也从未消失！他似灵魂捕手一般在寻找最初的原始梦境！
©杨加勇，白菊·系列，布面油彩，150×120cm，2018
After the intervention of spirit power, the dreamland further strengthened the amount of color and similarity in objects (Pramanam) in his artistic use of brushwork. In ancient Greece, people knew little about the universe and nature and firmly believed that there was an irresistible force dominating destiny. The tragedy Oedipus the king is a typical representative work of ancient Greek tragedy and the highest interpretation of the tragedy of fate. In other words, compared with most students, the learning environment of Yang jiayong in his childhood is more of a great artist who "experienced a tragic fate". The ups and downs of his growing experience undoubtedly laid a foundation for his great determination and perseverance in facing social reality and facing the changes of his living environment. The connection between psychic power and dreams never disappeared in him! He looks like a soul catcher for the original dream!
五.临界—游
CHAPTER IIV：Critical Tour
当绘画艺术的定性风貌走到一个临界点的时候，就是画家寻求突破边缘地标的关键时间——超验现实与虚拟空间。此刻的“你”必然是孤独而享受的，因为你已开始真正在建构属于自己绘画王国的一方土壤，而杨加勇正游走于这个“临界点”之中……
When the qualitative style of painting art reaches a critical point, it is the critical time for painters to seek to break through the boundary landmarks -- transcendental reality and virtual space. At the moment, "you" must be lonely and enjoyable, because you have started to construct a part of your painting kingdom, and Yang jiayong is walking in the "critical point"...
©Yang Jiayong·Studio，An Art Space，2019
BOUNDLESS DUST
— Foreordination —
Boundless Dust-Foreordination｜茫尘·宿命
© Yang jiayong · An Art Space
◐ 关于艺术家·杨加勇
C V
YANG JIAYONG
杨加勇
1985年生于贵州遵义
2012年毕业于四川美术学院油画系，获学士学位
2017年毕业于四川美术学院油画系，获硕士学位
现工作生活于北京、重庆
◐ 关于策展人·惠书文
C V
HUI SHUWEN
惠书文
现任郑州虹盒子美术馆馆长
重庆目击者当代艺术空间艺术总监
"猎质"国际当代艺术双年展品牌创办人
一甸艺术空间创始人之一
当代艺术策划人与创作者
2014年开始致力于独立艺术空间的创建与运营，Rainbow box project发起人，An Art Space策展人，担任2018年度猎质国际当代艺术双年展全国巡展总策展人（中国郑州–彩虹盒子美术馆、中国中山–中山美术馆、中国珠海–古元美术馆，中国重庆–华人当代美术馆/目击者当代艺术空间/7101美术馆/界外美术馆，中国西安–崔振宽美术馆，中国成都–成都大学美术馆，中国南京–可一美术馆，担任2018中国商丘抽象国际邀请展联合策展人，担任2018首届夜郎谷现场艺术周学术观察，曾朴：变相＆刘亭君：爱吾及物双个展，同时参与多个美术馆和画廊项目的监制、策划、主持等工作，撰写即时展览评论及挖掘推广国内外优质艺术家。
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