Flower of Desert - Permeating acrylic & oil on canvas 130.3x130.3cm 2008
郑志玹个展——沙漠中的春天
开幕式：2008年10月1日下午15:00（星期三）
展期：2008年10月1日—10月15日
展览总监：王国文
展览主持：麦丰
展览助理：周葳
设计：周葳
展览地点：上海市欧阳路580号朱屺瞻艺术馆
开放时间：10：00—16：30（逢周一休馆）
联系电话：021—56710742
电子邮件：mary27art@yahoo.com.cn
Opening Reception: 15:00PM,Oct.1st Wednesday,2008
Exhibition Period: Oct.1st—Oct.15th,2008
Curator: MARY MAI
Administrative Director: Wang GuoWen
Exhibition Assistant: Zhou Wei
Designer: Zhou Wei
Venue:No.580 OuYang RD. Zhu QiZhan Art Museum
Opening Hours:10:00AM—16:30PM(Close On Monday)
TEL：021—56710742
E—Mail：mary27art@yahoo.com.cn
前言
郑志玹的作品总是试图表现一种“错位的实在感”。所谓实在感是因为被描写的对象是在一种有意识的摆设下所被观者感知的原因。相反感到错位是因其物于环境的设定上有种不和谐的因素因此感到陌生。背景处理上漆黑的夜空朦胧的的云彩，或一片空虚的沙漠等描述的方式衬托出位于画面中央的主题形象。在她画中突然出现的一系列对比手段，使人联想到实在感又产生戏剧性的错位感，这对于解释作品的隐喻来说提供非常重要的逻辑线索。
能看得出他的作品与超现实主义表现方式有着类似的地方。超现实主义画家们一般采用一些打破日常秩序来达到无意识的超现实状态。但是仔细观察郑志玹在她的作品中反复地并置铁板，卵，棉，树木和鱼，镜面等。这样的执着程度让人怀疑她并不是以盲目的选择题材来达到它无意识的表现，更是有意的要反复对象而达到打破日常秩序。鱼和卵是最为经常出现的题材。它有时成为独立的主体来刻画在画面中央，从而我们可以推想出这些主体应该是具有着更多象征性的隐喻，同时也不能排斥她所要表现的无意识的状态。在她的画中形象与背景的错位的安排，虽然跟超现实主义画家们的手法相比有些拘谨，但她以实在与错位的方式打破日常秩序追求达到无意识的状态。
Facing the Self Behind the Surface
Jeong Ji-hyun’s art belongs to modernism because objects cautiously selected to reveal her esthetic sense are sifted through a refined and restraint visual language. With her delicate strokes, a lifeless sofa and an unnoticeable cactus are transformed into creatures with soft skin or hairs. Thick fleshy stems of the cactus are in stark contrast to prickles in color, texture and form, imbuing her painting with visual vitality. “Seeing—an activity that is ultimately derived from touching” As Sigmund Freud once put it, the flat objects transcend the limits of visual dimension into the tactile realm. Her favorite objects like a cactus with bloody prickles, voluptuous sofa, and flowers gathering red mold are an apparatus to manifest animistic vigor. When her sophisticated sense lends a visual density to these relativistic and incidental things, they come to life again as essential and absolute beings. Meanwhile, the agent of change hides itself behind realistically depicted objects.
Ordinary things are uplifted in a pure form and acquire their own clarity that is isolated from concrete circumstances. They are likened to sample ores in a visual laboratory. Nobody knows where they come from. That is to say, the audience cannot easily imagine why she picked up such materials as plants or furniture, or who they used to belong to. That is because her point of view is far from the conventional human-oriented viewpoint that reflects the mutual relations between humans and their belongings. Objects were elaborately illustrated but had no substantiality that can serve as a source of developing humane stories. They are decolorized and left nothing but rhythmically visual accents. While objects break away from their ordinary images through the pure journey of painting, they eventually find themselves caught in another net, say, the prison of language. The language entrapment corresponds to the “self-referential” modernistic world. In this sense, the reconstruction of the world in prison is a fitting description of the “self-referential autonomy” of art, which is both blessing and curse.
Lee Sun-young (art critic)
In her paintings, Jung Ji-hyun decolorizes cactuses, flowers and apples and exhibits inanimate image. Drawing a paradox, she reinterprets the beauty of living things in her inimitable visual language. Her restrained and sophisticated language of her artworks will take the audience into the beauty of painting that is illusive on the surface, sensual in color and materialistic in form.
Kim Joon-gi
(art critic and professor at Kyung Hee University)
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