郑路 慈航 257×170×100cm 不锈钢 2009
展览主题：读空——郑路雕塑个展
开幕时间：2009年9月12日 下午3:30
展览时间：2009年9月12日—10月6日
展览地点：北京新时代画廊
电话：+86-10-59789282
传真：+86-10-59789285
E-mail：newage4355@yahoo.com.cn
一直致力于发现并推出当代艺术新锐的北京新时代画廊，将于2009年9月12日举办“读空：郑路雕塑个展”。此次展览是郑路的首次个展，将集中而全面呈现他的艺术创作。
本次展览主题为“读空”。“读”即诵书念字，阅读文章。他的雕塑作品，是由文字构成的，并且，作品中的文字，成句成文，可以阅读，产生文之意韵与作品主题思想相关联；“空”，一方面，着眼于作品本身的视觉特征——镂空形式，呈现出“去除”物质实体，而只“存有”空壳的视觉直观；另一方面，“空”，也是虚空、空灵之意，强调了作品追求内在东方审美生命情调的意境。
本次展览展示的7件作品，是由两万余不锈钢汉字焊接而成，组成作品的文字或诗或文 。在此，中国书法文字与雕塑意韵交相呼应，互相生成。汉字具有丰富的形态之优美，中国文学文字能够产生丰富的思想之意韵。以汉字构成的雕塑作品，成为艺术家感悟思考现实，进行艺术表现的媒介。在此，既突出作品自身存在的一种文韵、意韵，又映射着一种 “虚”、 “空”、“阴”、“阳”。并且在光源的作用下，作品进一步在“存与留”、“虚与实”中无穷变幻延伸开来。
郑路自小对中国书法由来已久的情愫，对中国传统绘画讲求诗、书、画、印结合的内涵体悟，以及受那些展现着中国古老文明光辉的青铜器之器物功能与其铭文相互辉映的启发，形成了他以中国汉字及其产生的相关意韵，来进行雕塑艺术的创作。
文字，既作为郑路雕塑作品的基本元素，又是承载信息的媒介，郑路借以“文”与“字”去探求同自然呼应的方式，读进文字的意境，进入空的内心。将文化载体的汉字，从平面变为立体，由会意赋予形象，诚所谓文以化成。通过丰富与拓展汉字的审美空间，有形的“文”，用雕塑的语言“化”入人的灵魂。
Exhibition Listing on Sept of NEW AGE GALLERY
Theme: Interpretation of Emptiness--Zheng Lu’s Solo Exhibition of Sculpture
Opening: Sep 12, 2009, 3:30pm
Date: Sep 12, 2009—Oct 6, 2009
Venue: New Age Gallery, Beijing
8502#, D09 Area, 798 Zhong Er St., No.4 Jiu Xian Qiao Road, Chao Yang District, Beijing. PC: 100015
Tel: +86-10-59789282
Fax: +86-10-59789285
E-mail: newage4355@yahoo.com.cn
Beijing New Age Art Gallery, which has been committed to discovering and introducing to the public young contemporary artists, is pleased to present a solo exhibition on Sept. 12, 2009, under the title “Interpretation of Emptiness: Zheng Lu’s Solo Exhibition of Sculpture”. This exhibition, as Zheng Lu’s first solo, will give a broad overview of his artistic career.
In view of the title “Interpretation of Emptiness”, “interpretation” refers to “reading or reading aloud”. The sculptures are based on characters composed in lines or in passages for reading, so as to establish the connection between the artistic charm and the theme. “Emptiness”, on one hand, derived from the pierced works’ visual feature, indicates the visual dissociation from the physical reality and the “existence” of hollow frame; on the other hand, “emptiness”, carrying the meaning of “nonbeing” and “etherealness”, stresses the pursuit of intrinsic beauty of life particular to the East.
The seven works to be exhibited are composed of more than 20,000 welded stainless steel Chinese characters that make up the texts or poems of the works at the same time. Here, Chinese calligraphy and the sculptures are complementary and interdependent. The Chinese calligraphy is known for its formal beauty, while the characters in Chinese literature are capable of generating rich connotation. A sculpture composed of characters naturally becomes a medium for life experience and artistic expression. Therefore, the appeal of words and their connotation are highlighted, and “emptiness” and “hollowness”, “Yin” and “Yang” are reflected as well. The illuminated works thus begin their journey of inexhaustible changes and extension, wandering between “to be or not to be” and “to be fantasy or to be reality”.
The artist’s abiding love of Chinese calligraphy since childhood and his understanding of the perfect combination of poem, calligraphy, painting and seal in traditional Chinese paintings, and, of course, the inspiration from the harmony between the function and the inscriptions on the bronzes that record truthfully the Chinese civilization since ancient time, constitutes the basis for his sculptures that center on Chinese characters and their artistic charm generated.
Words in the form of characters in Zheng Lu’s sculpture are both basic elements and medium for information communication whereby he explores means to communicate with nature, to experience the appeal of words, and to approach the core of emptiness. When characters, carrier of culture, are turned from two-dimension to three-dimension, from ideograms to images, the essence of culture is successfully transmitted, i.e., by enriching and expanding the aesthetic space of Chinese characters, the concrete “words” “get access to” our soul with the sculpture as medium.
