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〇·本元研究之秩序和法则的规律-NO.1612 Print

Yang Yue

China

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这一系列作品,使用了特殊的绘制方法,当你近距离看时,你会觉得惊讶的,因为他像是自然形成的。我的这个方法,是对人类行为所造成的“痕迹”的讨论。而画面所要表达的,是对我认为的真实空间提出的质疑,借助数学和物理学中分形维度的概念来阐述这一问题。而闪烁的反光就像星辰,当你观看时会有跳动感,一是为了表达我对时间的理解,有一种不确定性而又有真实的存在感。二是表达我对空间之间的连续性和相互性的理解。 This series of works uses a special drawing method. When you look up close, you will be surprised because he is naturally formed. My method is a discussion of the "marks" caused by human behavior. What the picture wants to express is the questioning of the real space that I think, and the concept of fractal dimension in mathematics and physics is used to illustrate this problem. The flashing reflection is like a star. When you watch it, there will be a sense of jumping. First, in order to express my understanding of time, there is an uncertainty and a real sense of existence. The second is to express my understanding of the continuity and mutuality between the spaces. 《语言,在思之外--有感杨越作品之碎语》——杨 琼 杨越试图解构古典的宗教绘画模式,把叙事和再现转变为抽象和表现,把科学的观念、宇宙的秩序写入那虚幻的图景中,以一种神秘的方式重塑自我的力量,借以开放自己的绘画语言,这是杨越的期待。这种期待与观念紧密地联系在一起,成为他对绘画语言执着的探索。 他的作品常常融入设计的理念,还有壁画的元素——比如《O系列》,这些作品强调装饰性的和谐,以及科学、理性和系统思维方面的价值,以一种特殊的、它所固有的形式表现了自己的观念;但在作品中也不排斥非理性的因素,比如幻想、超越、萨满式、碎片化的思考。杨越的作品既不是单纯的模仿,也不是毫无克制的想象,而是反映、理解,乃至“通过罕见的、神奇的、错综复杂的现象去揭示真理”。这种暗示冲突的二元对立,恰好可以看作是艺术家试图调和艺术思维与科学逻辑之间矛盾的渴望。 《〇》系列作品自述 我從何而來?生物進化論不足以釋然,科學研究恐無良果,宗教傳說之言,雖不可信,然可參較。傳說之語似荒謬之言,實人之大思能也。宗教之恢弘敘事之能,堪為思之首。故宗教傳說之法,可參可與之較也。 慾尋我,何不先棄我。我思故生萬物,萬物亦生我。然常物怎可見我?故考究常物,以常識之思,背而立之以為象,以此思其道,未為不可耳。 憶往之善法,參時下之思論,察今之弊,思將來之善源,吾立〇之意也。 〇者,宇宙萬物之律呂;周而復始之本像;本元之意也。其音但隨人意,可為o,為零,為喔,為圓,為圈等。余喜讀本元。本者,根基也。元者,始也,為初生之始,最善之時也。 本元者,上善之地也。 余善為視覺之物而拙於文,所思所感唯有視覺之物可圖。余願以此微渺平生,志之於本元上善之像也。然至今未可謀,僅有成百上千之研究稿。 《〇》系列繪畫作品,亦為其之一偶。文論之述,可參看吾之日誌,《日常志》(每日所思所想之小記也)與《圖志稿》(創作之草稿及論述之文也)。評論解析之文,可參看楊瓊所書《語言,在思之外——有感楊越作品之碎語》一文。 夫人於世,自有時之使也。為藝者,當鑒古惜今,匡正是時,圖良境,以遺後來者,方不辱其使也。 奮進,奮進 楊越 二零一七年七月九日

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Print:Giclee on Fine Art Paper

Size:10 W x 10 H x 0.1 D in

Size with Frame:15.25 W x 15.25 H x 1.2 D in

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Yang Yue, a contemporary artist Born in Pingliang, Gansu Province in 1988, worked in Beijing in 2007 and now works and lives in Beijing. From 2007 to 2010, he used his artistic perspective to interpret the contemporary art history one by one. After 2010, the Series works emphasized the importance of decorative harmony and scientific, rational, and systematic thinking. Try to analyze and reconcile the contradiction between artistic thinking, scientific logic and religious philosophy. Through rare, magical, complex visual phenomena to reveal the concept of science, the order of the universe, the multiple relations between matter and space, and existence and nature, we want to presuppose a primitive world that is closer to the truth. As he said: "The 〇. The law of the universe, the beginning and the end of the law, Lu, the image of this element also. The person of this Yuan. The land of goodness is also."

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