展期 Period：
2024.3.9—2024.6.9
艺术家 Artist：
地点 Venue：
前言 Foreword：
在众多人类学术领域中，“阈值”一词广泛代表一种临界状态。王志渊个展在此基础上，结合了色域绘画中关于空间场域的“域”，以“域值”为题，示意着艺术家本人对于当代绘画之外的领域所持续保持的关注、观察与借鉴，也昭示着一种潜于创作之中、平静之下的蜕变和超脱。遥想19世纪末至20世纪初的工业革命，为视觉创作乃至更广泛的文化领域所带来的巨大影响，生活在当下的创作者是否可以忽视或回避日益飞速更迭的科技前沿？ 反之，自然科学、科技等多元学科领域中生发的突破和新的概念，又为艺术创作带来了哪些前所未有的可能？那些挪用而来的平行参照，其生成逻辑是否又得到了合理化的转译与应用？
这些问题一直贯穿在王志渊工作中，他将近期的创作限定于寻找图层中的变化。在当代绘画中被广泛使用的材料——丙烯成为艺术家主动选择的媒介，这种具有高度覆盖力的后工业时代的产物，相较于油画颜料具有更快速的风干效率，而其色彩特性也应和着时代巨轮倾轧下的审美意象。王志渊的工作方式并未顺应材料原本的特质，反而以背道而驰的方式试图在绘画基本的涂底关系中另辟蹊径。媒介剂、水等物质在喷洒过程中对颜料的基本构造予以稀释或破坏，这一动作在不断重复后反而生成了一系列出其不意的画面效果与质感。进而，艺术家围绕画布进行创作的过程在堆积实施的动作下变得更为可视化，而这也是王志渊认为最为不可或缺的思辨过程。
除了沿用以往宽度较大的刷子和刷墙用的滚筒等工具外，近期的作品中，艺术家在图层之间添加了或完整或局部的弧线，将其穿插在不同的色彩图层中，在画面内部借助线条贯穿起多维度的空间。手臂（滚筒和刷子）或手指（彩色铅笔）等调动不同身体部位的运作方式，让颜料在与画布的接触中，通过留下的痕迹为艺术家提供了最为直观的“感受”，每一次的“感受”进而成为如“信号”般的回馈，提示着创作过程中的下一步该如何推进。
王志渊将抽象视为动词，一个生成的过程，他从个体经验和世界现象中抽取提炼之象的过程。秉着自由原则，他的创作受到了众多艺术史中经典作品的影响，从抽象绘画发端伊始，到整个20世纪当代艺术中可汲取的方法与观念，王志渊均如数家珍。互联网浪潮下，大师杰作以数字化的方式呈现于屏幕间，艺术史仿佛变得唾手可得，每个人可获取的信息依赖于各自搜索与发现的能力，正如艺术家所能达致的域值与函数设定的公式间的距离，取决于他对边界的拓展和期许究竟能有多远。
The term “threshold value”, across various fields of humanities, broadly denotes a liminal state. Taking stock of this, Wang Zhiyuan entitles his solo exhibition “Field Threshold” (sharing the same phoneme with field, range etc.,) which incorporates the concepts of “field” and spatial realms in the color field painting. This title underscores the artist’s ongoing focus, observation, and engagement with realms beyond contemporary painting, while hinting at a transformation and sublimation embedded within the apparent tranquility in his works of art. When comparing today’s revolutionary technological changes with the immense impact of the Industrial Revolution on visual creation and the broader cultural domain from the late 19th to the early 20th century, questions emerge: can contemporary creators afford to ignore, or divert their gaze from, the rapidly evolving technological landscape? Conversely, do the breakthroughs and new concepts emerging from diverse disciplines—such as natural science and technology—engender unprecedented possibilities in the realm of artistic practice, and if so, what might these be? Furthermore, can these parallel references and their underlying logic be justifiably translated into actual practice?
These questions have always been central to Wang Zhiyuan’s work, where he now focuses his creative efforts on exploring changes within the layers of imagery. Acrylic, a material widely used in contemporary painting, becomes Wang’s medium of choice. This highly opaque product of the post-industrial era dries faster compared to traditional oil paint, and its vibrant color properties also resonate with the aesthetic imageries under the colossal shift of the era. However, Wang’s approach does not adhere strictly to the original properties of these materials; instead, he counterintuitively seeks to forge a new path by investigating the underpainting of an image. Through the spraying process, mediums, water, and other substances dilute or disrupt the basic structure of the pigment. This, after repeated applications, paradoxically leads to a series of unexpected visual effects and textures. Additionally, the process of the artist working around the canvas becomes more evident through actions of accumulation, which Wang considers an indispensable part of the speculative process.
In addition to employing wider brushes and rollers for wall painting as in his earlier works, the artist has recently introduced complete or partial arcs between layers, interlacing them across different color strata to craft multidimensional spaces within the paintings through the use of lines. The operation of different body parts, such as arms (which maneuver rollers and brushes) or fingers (which hold colored pencils), allows the paint to provide the artist with the most immediate “sensation” through the traces left in contact with the canvas. Each “sensation” then becomes a signal-like feedback, guiding the next steps in the painting process.
Wang Zhiyuan conceives abstraction as a verb, an ongoing process of generation, drawing from individual experiences and global phenomena. While adhering to the principle of freedom, his practice is influenced by a vast array of classic works in the history of art: from the inception of abstract painting to the methods and concepts available in contemporary art throughout the 20th century, while making adjustments to fit his need. In a time when digital technology ubiquitously permeated in our everyday access to information, masterpieces are readily displayed on digital screens, seemingly putting art history within arms’ reach. Yet the depth of information one can access is contingent upon one’s drive to searching and exploring, much like the distance between the artist’s “field threshold” and the maneunvers within his process, or even the mathematical formulation of functions hinges on his ambition to push his own range boundaries.
