Tens of thousands of minuscule mosaic tiles, reflecting just as many tones of blue; shade nets intertwined with one another, resting upon dead branches, forming multi-layered matrixes; aged grease stains and dust, rendering window screens turbid yet thinly transparent - being obsessed with and almost paranoid about polishing such details, Yuan Yuan depicts most patiently and rationally an uncanny realm, merged in which are displaced scenes, fantasies based upon reality, personal experiences, and the singular aesthetics of immanence of the artist.

 

From 1992 to 2003, Yuan Yuan spent eleven years in the oil painting department at the China Academy of Art. A skilful painter, Yuan is able to delineate with great precision any specific form. He is, however, not a realist painter, and does not want to be confined to classical aesthetics.  Yuan is interested instead in exploring layers of colours with various painting knifes, and in filling gaps in a figurative composition with abstract details. Surrealist dreams expand on his canvas, interchangeably co-existing in which are the decayed and the grandiose, the complex and the orderly, the tranquil and the tumultuous, the transient and the eternal. Painting is Yuan's only chosen form; for Yuan, art is an enclave in reality, a borderland where controversies and clashes are allowed. As soon as the artist starts working on his art, he becomes the voice of the enclave. Yuan Yuan moved to Germany in recent years and has established his permanent studio in Berlin. Just like other artists from all over the world who reside in Berlin, he is attracted by the unique, free cultural atmosphere, the specific socio-political history, and the independent, forward-thinking mentality of the city. Arriving in Berlin, Yuan looks forward to a new level of artistic creation, the starting point of which is marked by the exhibition Irregular Pearl.

 

成千上萬塊細小的馬賽克各自反射出不同的藍色;懸掛於枯枝的防曬網相互糾纏形成錯綜重疊的網格;被經年的油污和灰塵蒙蔽的不再通透卻「絲絲」可見的紗窗,在對細節近乎瘋狂和偏執的雕琢中,藝術家袁遠以極大的耐心和理性,向我們描繪了一個奇幻時空,這個時空融合了錯位的景觀、基於現實的幻想、藝術家的個人經驗及內在趣味。

 

袁遠1992年進入中國美術學院油畫系,在這所學院接受過長達11年的繪畫訓練,扎實的寫實功底讓他可以細緻入微地描繪出任何一個具體的形象。但袁遠並非寫實主義,也不情願受限於古典形式美的局限,他喜歡用各種型號的刀在顏料色層間刮擦,用抽象的細節去填滿具象的縫隙。一個超現實主義的夢境在他的畫筆下均勻展開,腐朽與壯麗,龐雜與秩序,寧靜與喧囂,瞬息與永恆在畫面中交替並存。繪畫是袁遠唯一使用的創作媒介。在他看來,藝術是現實中的一塊「飛地」,一個邊緣地帶,在這裡可以提出異議、製造衝突,當藝術家開始創作,無論什麼媒介什麼題材,他就是這塊「飛地」里的發聲者。近年,袁遠舉家搬遷至曾經的飛地柏林,建設他的永久工作室。和其他從世界各地匯聚至此的藝術家一樣,被這裡自由開放的文化氛圍、特殊的社會政治歷史、獨立前瞻的思潮所吸引。袁遠期待這一變化將會開啓創作上的另一個維度,展覽「歪扭珍珠」是袁遠柏林時期的開端。

  • Installation views


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  • "This series of paintings originates from a set of photographs I took years ago in Hong Kong. The largest one was about windows from a Hong Kong restaurant. As I tried to transform and integrate them into a pictorial composition, they naturally fell into this current combination. The four smaller paintings from this series are more abstract, with many other additional elements, but still originating from an old window, which got freer and more expanded in the course of painting." - Yuan Yuan

     

    這個系列的作品素材來自於我多年前在香港拍攝的一組照片。最大的這件作品是香港一個飯店的窗戶。當它被改造、被納入一個畫面的時候,自然而然地就會被我組合成這樣。四張尺寸稍小的畫更加抽象一些,因為加入了很多其它的元素,它的來源還是一個老的窗戶,但畫的過程中會越來越自由,越來越延展。--袁遠

  • From 1992 to 2003, Yuan Yuan spent eleven years in the oil painting department at the China Academy of Art. A skillful painter, Yuan is able to delineate with great precision any specific form. He is, however, not a realist painter, and does not want to be confined to classical aesthetics.  Yuan is interested instead in exploring layers of colours with various painting knifes, and in filling gaps in a figurative composition with abstract details.

     

    袁遠1992年進入中國美術學院油畫系,在這所學院接受過長達11年的繪畫訓練,扎實的寫實功底讓他可以細緻入微地描繪出任何一個具體的形象。但袁遠並非寫實主義,也不情願受限於古典形式美的局限,他喜歡用各種型號的刀在顏料色層間刮擦,用抽象的細節去填滿具象的縫隙。

     

     


     

     

     

  • ‘Gorilla exhibit’ comes from a gorilla’s pavilion from a zoo in Berlin, which has a space that mimics the ecosystem... ‘Gorilla exhibit’ comes from a gorilla’s pavilion from a zoo in Berlin, which has a space that mimics the ecosystem... ‘Gorilla exhibit’ comes from a gorilla’s pavilion from a zoo in Berlin, which has a space that mimics the ecosystem... ‘Gorilla exhibit’ comes from a gorilla’s pavilion from a zoo in Berlin, which has a space that mimics the ecosystem... ‘Gorilla exhibit’ comes from a gorilla’s pavilion from a zoo in Berlin, which has a space that mimics the ecosystem... ‘Gorilla exhibit’ comes from a gorilla’s pavilion from a zoo in Berlin, which has a space that mimics the ecosystem... ‘Gorilla exhibit’ comes from a gorilla’s pavilion from a zoo in Berlin, which has a space that mimics the ecosystem... ‘Gorilla exhibit’ comes from a gorilla’s pavilion from a zoo in Berlin, which has a space that mimics the ecosystem...

    ‘Gorilla exhibit’ comes from a gorilla’s pavilion from a zoo in Berlin, which has a space that mimics the ecosystem of a forest. Starting from the compositional structure of this painting, the artist has framed what he would call ‘ruins-alike’, along with an abundance of figurative details. Tens of thousands of minuscule mosaic tiles, reflecting just as many tones of blue; shade nets intertwined with one another, resting upon dead branches, forming multi-layered matrixes – being obsessed with and almost paranoid about polishing such details, Yuan Yuan depicts most patiently and rationally an uncanny realm, merged in which are displaced scenes, fantasies based upon reality, personal experiences, and the singular aesthetics of immanence of the artist.

     

    《猩猩的樂園》這張畫的素材來源於柏林一個動物園的猩猩館,空間里模仿了一個森林的生態環境。從畫面的結構出發,藝術家架構一些所謂的像廢墟的東西,添加了許多具象的細節。成千上萬塊細小的馬賽克各自反射出不同的藍色,懸掛於枯枝的防曬網相互糾纏形成錯綜重疊的網格,在對細節近乎瘋狂和偏執的雕琢中,袁遠以極大的耐心和理性,向我們描繪了一個奇幻時空,這個時空融合了錯位的景觀、基於現實的幻想、藝術家的個人經驗及內在趣味。

     


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  • The architecture seen in this painting is a subway station near the artist’s studio in Berlin. Every time Yuan Yuan...

    The perfect passenger 完美的乘客, 2020

    The architecture seen in this painting is a subway station near the artist’s studio in Berlin. Every time Yuan Yuan enters the station, a vision of a botanical garden emerges in his mind. Many of the subway stations in Berlin have enormous glass ceilings, which makes them look like greenhouses without plants. Deriving from this whimsy, the artist has transformed them into such a painterly space in a natural manner.

    Painting is Yuan’s only chosen form; for Yuan, art is an enclave in reality, a borderland where controversies and clashes are allowed. As soon as the artist starts working on his art, he becomes the voice of the enclave. Yuan Yuan moved to Germany in recent years and has established his permanent studio in Berlin. Just like other artists from all over the world who reside in Berlin, he is attracted by the unique, free cultural atmosphere, the specific socio-political history, and the independent, forward-thinking mentality of the city. Arriving in Berlin, Yuan looks forward to a new level of artistic creation, the starting point of which is marked by the exhibition ‘Irregular Pearl’.

     

    這件作品里的建築是藝術家在柏林工作室旁邊的一個地鐵站。袁遠每次走進地鐵站的時候,腦海就會浮現出一個植物園的樣子。柏林的許多地鐵站都有大的玻璃天頂,像個沒有植物的溫室。藝術家把對這個空間的奇思異想衍生出去,自然而然地轉換出畫面里這樣一個空間。

    繪畫是袁遠唯一使用的創作媒介,在他看來,藝術是現實中的一塊「飛地」,一個邊緣地帶,在這裡可以提出異議、製造衝突,當藝術家開始創作,無論什麼媒介什麼題材,他就是這塊「飛地」里的發聲者。去年,袁遠舉家搬遷至曾經的飛地柏林,建設他的永久工作室,和其他從世界各地匯聚至此的藝術家一樣,被這裡自由開放的文化氛圍,特殊的社會政治歷史,獨立前瞻的思潮所吸引,袁遠期待這一變化將會開啓創作上的另一個維度,展覽「歪扭珍珠」是袁遠柏林時期的開端。 


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  • Frequently, Yuan Yuan’s paintings depict claustrophobic, ruin-like spaces; the places are seemingly lively, but human figures are definitely absent. As...
    Gray area in the morning 早晨的灰色區域, 2019

    Frequently, Yuan Yuan’s paintings depict claustrophobic, ruin-like spaces; the places are seemingly lively, but human figures are definitely absent. As soon as the ruins are abandoned, they are turned from private territories into public spaces. Yuan compares this transformation with the fate of an artwork: as soon as it is gazed upon by a spectator, the artist abandons his exclusive possession of it. The viewer gradually identifies the time and space depicted in the painting, and in the same process identifies his or her own perspective, arriving not only in a painted world, but also his or her own projection. Expressing the absence of human by depicting the traces left behind, Yuan’s painting takes exactly the excess of details as its subject, emphasizing on even the most trivial details. In a space that is ruined and fractured, time is surprisingly rendered clear and visible, amplifying vivid spiritual and emotional echoes.

     

    袁遠的作品幾乎都在描繪一個幽閉的空間,一處廢墟,充滿人類活動的煙火氣卻從未出現過任何人。從被人類放棄的那一刻起,廢墟由一個私密領地轉而成為公共空間,袁遠覺得這個過程和藝術家的作品被展示在公眾面前的過程極為相似:從作品被他人凝視的那一刻起,藝術家放棄了對作品的獨享。觀眾在逐漸辨識畫面里時空的過程中,也解讀出自我的所處,觀眾最終落入的不止是畫作中的世界,更是他們自身的投影。通過人遺留下的痕跡來表現自始至終都缺席的人類,擠滿畫面的旁枝末節原本就是主題本身,即使畫面中最微不足道的細節也值得加以表達,在荒蕪殘缺的空間里,時間反而變得清晰可見,精神和情感的回聲被放大可辨。


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  • In many of his paintings, Yuan Yuan depicts the same elements repeatedly: row upon row of the same object, is Yuan’s way to present all the details that are considered equally significant. By doing so, the artist’s aim is to know and comprehend all the facets and spheres of what is present in perspective. It is like sorting out a room, which has less to do with physically categorizing and sorting things, than with positioning one’s self on the level of perception. In an interview, Yuan talked about the amount of time he spends daily on cleaning the studio; if there is one painting tool that is not in its place, it is not possible for him to start working. The methodological habit shapes his work, not by presenting a kind of ground-breaking form, but by arriving at a perfect balance between the subjective and the objective, through examinations and sort-outs.

     

    袁遠喜歡在畫面中重復鋪陳相似的元素,一排排,一列列,不厭其煩地讓一切細節同等程度的展現出來。沒有目的,而僅僅為了對面前一切盡可能的了若指掌,就好比去整理一屋雜物,只是並非物理意義上的分門別類,而是感知意義上的歸置。袁遠在一次訪談中提到,他每天花很多時間整理工作室,在開始一天的工作之前,只要有一件工具不在它該在的位置上他就無法開始工作。這個工作習慣決定了他的作品,不是為了製造某種令人震驚的形式,而是通過觀察和整理,達致主體性和客體世界之間的完美平衡。