近20年来，杨沛霖幽居于浙江余姚四明山脚下，以极简的生活方式体验、思考着这个世界。这是他的首次当代水墨作品个展，用独特的艺术语言与创作方式呈现出他的认知与思考。
作为一名有着长时间书法经验的艺术家，杨沛霖使用的主要材料仍然是水、墨和宣纸。这些作品尺幅巨大、细节耐人寻味，他用折叠、捆扎、滚压、拓印等方式进行创作，每一种动作构成了一个视象系列。这些动作极简，同一维度下的重复，最终却呈现出多维而相异的物象，杨沛霖作品的视觉魅力正在于此。
在杨沛霖的作品中，充满了形式、色彩与线条之美，但最终打动观者的是其中涌动着的生命气息，这来自于水墨的材质与中国的哲学观念。在他的创作过程里，体现着人与自然的和谐。因为简单，故能纯粹，因为相异，方能无限。水墨与物象仅是载体，杨沛霖真正的作品是他的“意”。“意”从“无”而来，与“象”共同生发，最终与“象”融而为一。
近年来，中国的水墨创作呈现出多元的新变化，艺术家们不再局限于传统的藩篱，而是从不同角度溯源而上，回到本源，在当代语境下激活这种古老媒介的潜能。我们更欣喜地看到，中国的当代艺术家们开始将传统哲学观念完美融入到当代艺术的创作中，用更丰富的艺术语言讲述自己对世界、对生命真实的体验与认知。杨沛霖就是这样的一位艺术家。
策展人 许柏成
Unintended Presentation：Yang Peilin Solo Exhibition
Preface
For nearly 20 years, Yang Peilin has been living at the foot of Siming Mountain in Yuyao, Zhejiang Province, experiencing and thinking about the world in a minimalist way of life. This is his first solo exhibition of contemporary ink art works, which presents his cognition and reflections with his unique artistic language and creation methods.
As an artist with a long experience of calligraphy practice, Yang Peilin uses water, ink and rice paper as the main material for his ink experiment. His works - huge in size and intriguing in detail - were created by folding, binding, rolling, rubbing and other methods, each of which generated a visual series. These minimalist movements were repeated in the same dimension, yet presented multidimensional and diverse images in the end, and that is exactly the visual glamour of Yang Peilin's works.
Yang Peilin's works are full of beauty in form, color and line, but what ultimately strikes the viewers is the flow of life therein, which is derived from the material of ink as well as the concepts of Chinese philosophy. The process of his creation embodies the harmony between man and nature. It is simple, so it is pure; it is diverse, so it is infinite. While ink and physical images are just the carriers, Yang Peilin's real work of art is his"impression". The"impression" comes from"nothing", grows together with the"image", and finally merges with the"image" into one.
In recent years, Chinese ink art has taken on a variety of new changes. Artists no longer confine themselves to the traditional barriers, but trace and return to the origin from different perspectives, thereby activate the potential of this ancient medium in the contemporary context. We are more pleased to see that contemporary Chinese artists have begun to perfectly integrate traditional philosophical concepts into their creation, using richer artistic languages to express their experiences and cognition of the world and the truth of life. Yang Peilin is just such an artist.
Curator, Xu Baicheng
