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2007年1月3日至2月28日
人群中这些面孔幽灵一般显现；
湿漉漉的黑色枝条上的许多花瓣。
—意象主义先驱艾兹拉•庞德
作为龙艺榜画廊推出的探索80后新锐艺术精神的系列艺术展之二，此展览聚焦具有抽象性倾向的学院派油画家在东方意象和写意传统烙印下的创新。参展艺术家包括曾获中央美院王嘉廉油画奖的陈松涛、谢意、吴以彩和谢磊等。
当代中国艺术忙于对付全球化带来的各种社会与个人问题，艺术题材的社会化、当下化成为潮流，而参加“回到画面”新锐群展的艺术家应和了80后对当代热门题材的漠然。面对凌乱的现实，他们坚持诗化的理想，表现出对架上绘画的抽象体验与中国感受方式结合的热忱，其作品特征是抽象与意象*的融和。东方审美对神似与气韵的主观顿悟，与西方抽象艺术对内心情绪的通感与宣泄在此汇合，他们以朝圣般的执着不懈地在光与影之间追问永恒的诗意，带领观众抵达愉悦忘我的微妙境界。
陈松涛古代人物作品延续着中国文人画自然、自在的优雅华丽，泼墨般的油彩和矿物材料中冬梅、夏荷、雪松、白鹭、仕女、渔翁等在历史沉积的斑驳中凸现，源于东方写意的水晕墨色的抽象趣味和文人气韵在油画中浮雕般被强化，古典意象和神韵流动变幻，在画面中可以感受到夏荷匆促的凋零和雪中寒梅的清彻暗香。
作为迷恋摇滚酒吧文化的艺术青年，谢意作品对酒吧中的流行因素与西方符号视而不见，她的兴趣在于幽光醉态中闪烁的酒杯旁落寞的青年、穿透心扉的弦乐器中歌手的嚎叫。音乐、光线、人物和内心的激情组成的抽象印象通过刮痕、涂抹，刀一般的雕刻出意象与抽象交错的复杂情绪和画面效果。作品浓烈饱满，爆裂的光彩充满张力，雕琢出歌者忘我深情的瞬间，在最后稀薄的理想主义的虚幻里长梦未央。
吴以彩(生于1979年)敏感丰富的女性世界萦绕着梦幻般的微妙光影，书写自如，气韵喷薄，画面情趣横生、微妙而诗意，显示了女艺术家高贵心灵与技法的默契和升华，华丽中闪耀纯美的柔情。
目前远赴法国研习抽象艺术的谢磊豪情恣肆地描述了中国的混沌太虚世界，生命如星辰爆发后的微粒，融于虚幻中，以抽象形式显示了中国哲学的恢宏意境。他对思辨精神的学术兴趣显示了先锋派对中国抽象艺术深入探索的执着。
他们企图摆脱浮世喧嚣，对画面苦心孤诣地经营，追寻中国写意传统中的抽象性（笔墨、肌理、痕迹等）在油画的绘画性趣味的营造；“似与不似之间”的中国式朦胧意象与西方抽象精神的融和，在其画面上产生精妙纯粹的视觉盛宴，流露出学院派精英对中国文人画的超然风骨的渴望。
注：意象主义作为发轫于上世纪20年代英美精英诗歌运动，不主张对客观现实的机械反映，拒绝直接表达主观的情感，而是用意象约束感情。“意象是一团相交融的思想，富有活力。” 意象主义受到东方诗学和思维观念的深刻影响。如唐代诗人杜牧“娉娉袅袅十三余，豆蔻梢头二月初。”
80后新锐艺术系列展之二 作品展览
Back to Canvas, the Poetry Between Abstract and Imagism.
Post-80s avant-garde artists series exhibitions Phrase II
Amelie Gallery
Curator: Tony Chang
Jan 3st-Feb 30, 2007
The apparition of these faces in the crowd;
Petals on a wet, black bough.
By Ezra Pound
This is the second part of post-80s artists series launched by Amelie Gallery, exploring new shifts of focus of Chinese avant-garde, shedding light on what will impact on the contemporary Chinese art scene in the very immediate future.
Against the impact of globalization, subjects of contemporary Chinese art is in a flustered manner responding to social and personal problems, while this show represents a group of Post-80s artists (Xie Yi, Chen SongTao, Wu YiCai, Xie Lei etc.) who realize that contemporary is only temporary. From chaotic and superficial realities, they decide to retreat back to canvas, their ambition as oil painters is more concerned with something of eternal quality.
Influenced by the abstract heritage in Chinese freehand brushworks, they pursue innovative breakthrough on abstract paintings, which can be summarized as integration of abstract and imagism; the later represents a realistic and emotional complex in an instant of time, a sudden liberation, an oriental way of visualization in Chinese psychological system.
Chen SongTao exhibits his award-winning works (Charles B.Wang Oil Painting Scholarship at Central Academy) based on classic Chinese imageries like winter plum, summer lotus, snow pine, fisherman, aigrette and the lady, in which he distills and magnifies abstract beauty of Chinese freestyle brushworks tradition to amazing novelty and intensity.
Xie Yi’s works were inspired by visits to pubs where live rock bands played every evening. In the dimly lit bar, she saw faces, bodies, and expressions seemingly immersed in the darkness. She was moved by the sequins on dresses, collars, sleeves and braces that twinkled with light, creating the impression that they had left their owners and were floating in the air. Expressing it as “hope without purpose, remembrance without memories, and presence without existence”, Xie Yi creates engaging abstract tension on rock, youth, dreams and illusions.
In female artist Wu YiCai (born in 1979)’s world, vulnerability and fragile female sensations, hidden in delicate shadows and lightings, demonstrate her elegant styles coherently responsive to a sensitive heart.
Xie lei (who is researching western abstract in Paris) create dynamism of form and emotion in abstract style, Chinese philosophical vision to chaos and universe makes his work uniquely Chinese.
These artists are intellectually mature and critical, they elevate reality with poetry, uplift boredom to aesthetics excitement, engaged in exploring Chinese way to abstract purity, leading us to a place that is more desirable and cozy than the hard reality.
Note: Imagism, a literary movement launched by British and American poets early in the 20th century, which was profoundly influenced by oriental poetry, most notably the four-line Chinese lyric.
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