展期 Period：
2024.8.24—2024.9.22
艺术家 Artist：
策展人 Curator：
地点 Venue：
前言 Introduction：
伯年艺术空间欣然宣布，将于8月24日至9月22日推出艺术家柯家俊个展“一浮沤”。本次展览由王垚力担任策展人，将呈现柯家俊自2023年在伯年艺术空间首个展“小花园”后，最新创作的十余幅布面油画。
早期作品中，柯家俊着重描绘单一主体于空间框架中，某种富有神性的静止状态，或呈现他所构建的世界的片段场景。像一位严谨的造世主，柯家俊冷静并克制地打造出一个独立于现实世界的“小世界”，耐心地为它制定一条又一条不可撼动的运行法则。此时，他的世界虽只展现一隅，但已初具雏形。
本次展览呈现的最新创作，在拥有更为丰富的叙事性上，他进一步展现了承载“小花园”的虚构世界的宏观之貌。如作品《无聊纪元：漂流》（三联作），作为柯家俊目前创作的最大尺幅绘画，描绘了指代个体生命的“白鹅”从未知起点游走至终点的过程。期间，它们面临抉择、经受苦难，有无数迷茫无奈，但深知终有尽头。与此同时，他围绕代表芸芸众生的“鱼”，持续创作了《深海》《藏》和《一起去旅行》等极具辛辣讽刺意味的绘画作品。一种绝望的幽默，使充满理性和秩序的画面里产生出带有人性的“空隙”。
关于思考生存或去往何处，自嘲性格孤僻又悲观主义的柯家俊，似乎一直无法松懈对待。这或许解释了为何他对色彩的使用，总是慎之又慎。柯家俊认为，在灰白的主色调中，其他的颜色只能一点点加进来。究竟，何以入画？
浮沤，水泡也。佛学中，以大海中之一浮沤譬喻人身。纵观柯家俊的绘画，虽整体描绘现实缩影下的“异世界”，但更为重要的是，我们能在另一维度的全景视角中，观察当中的个体境遇。由此，我们能够轻松带入造物主的角色，冷静注视眼下发生的一切，抑或是与大海中的一个水泡，产生共鸣。
BONIAN SPACE is pleased to announce the solo exhibition, Floating, by artist Ke Jiajun, from August 24 to September 22, 2024. Curated by Wang Yaoli, the exhibition features over ten recent oil on canvas paintings by the artist, created after his first solo exhibition K’s Garden at BONIAN SPACE in 2023.
In his earlier works, Ke Jiajun focused on depicting a single subject within a spatial framework, often capturing a divine stillness or presenting fragmentary scenes of his constructed world. Like a meticulous creator, Ke Jiajun calmly and deliberately crafts an independent "small world" separate from reality, patiently establishing unshakable laws of operation for it. By this time, the world he created was beginning to take shape.
The new works presented in this exhibition demonstrate a richer narrative, further revealing the macro view of the fictional world that houses "K's Garden." For instance, in the triptych Boredom Era: Drifting, Ke Jiajun's largest painting so far, he depicts the journey of "white geese," symbolizing individual lives, as they wander from an unknown starting point to an endpoint. Along the way, they face choices, endure suffering, and experience countless moments of confusion and helplessness, all while knowing there is an inevitable end. At the same time, Ke continues exploring themes around the "fish," representing the masses, with paintings like Deep Sea, Hide, and Traveling Together, rich in biting satire. A sense of hopeless humor introduces a humanistic "crack" into the otherwise rational and orderly compositions.
Ke Jiajun, self-deprecatingly described as reclusive and pessimistic, seems unable to relax when contemplating existence or where one is headed. It might explain his cautious approach to color usage. He believes that other colors can only be added sparingly in a primarily gray-and-white palette. Ultimately, what can be painted in a painting?
"Fu Ou (the exhibition’s title in Chinese)," a water bubble indeed. In Buddhism, a single bubble in the vast ocean is used as a metaphor for the human body. Looking at Ke Jiajun's paintings, while they depict an "alternative world" as a microcosm of reality, what is more important is that we can observe the individual experiences within it from a panoramic perspective in another dimension. It allows us to quickly assume the role of the creator, calmly observing everything that unfolds, or we could resonate with a single bubble in the ocean.
