展期 Period：
2023.8.5—2023.9.12
艺术家 Artist：
策展人 Curator：
地点 Venue：
新闻稿 Press Release：
伯年艺术空间欣然宣布，即将于2023年8月5日至9月12日期间带来艺术家徐雅涵的个展“往来于陆地的一切空隙”。展览由高雨萌策划，将展出艺术家的十余幅新近绘画作品。徐雅涵的绘画是其具身经验的表达与个体情感的投射，她将自身生命能量的涌动外化于画面元素中，使其转化为具有情感的形式，回应着拘囿与突破，渺小与浩大的生命主题。
在近作中，徐雅涵开始从最早趋于抽象的形式过渡到具有象征意味的具象表达，在画面的叙事性逐渐增强的同时，有目的地保留了抽象时期具有自身独特性的创作手法和个人符号。她以“野草”作为个体存在的隐喻，于多重物象围建起的心理空间中生发、蔓延、直至挣脱，进而延伸至现实局限之外的、充满未知可能的遐想世界。在她看来，绘画的过程也是对生命存在的探索过程。她将情绪与感受转化为创作痕迹，任其变化带来走向的不确定性。画面在控制与打破的双向过程中不断反复，直至最终呈现出自由的精神表述。
徐雅涵在画面中构筑的并非肉身经验可丈量的客观世界投射，而是利用视觉元素的层次与错位不断对空间进行解构与分割，从而建立起层层递进的心理叙事空间。随着视角的推进，空间不再静止不动，而是在观察之下不断地变化与展开：帘幔、窗棂、藩篱，这些搭建起画面主要结构的物象对内部形成围合保护的姿态，老旧斑驳的痕迹传递出时间的流逝以及情绪的疏离与困顿，在带来稳定的安全感的同时，也在束缚着内在的生长。然而，画面中亦为能量的流动留有路径：背光的叶片、虚掩的门、向内半开的窗，光的方向提示着观测者目光投向的位置——也正是在此间，野草正在野蛮生长。它们滋生于一切缝隙，蔓延在一切空地，又外溢出条条框框，直至明亮开阔的远方。
此次展览标题“往来于陆地的一切孔隙”化用自英国浪漫主义诗人雪莱的《云》（The Cloud ）中的诗句。雪莱将云视作天地间最为柔韧之物：气凝为水，于水的孔隙中溶解；降而为雨，于土壤的孔隙中呼吸；蒸发为气，上升为云，如此变化循环，无穷延续。徐雅涵绘画中的意象核心——“野草”，则肆意自生于陆地的一切可见与不可见的孔隙中，有着冲破一切阻障的能量。比起幻游于无界的云，野草更具向下的抓力，攻城略地，燎之不尽，不可摧毁。“我往来于陆地海洋的一切孔隙，我变化，但是不死。”借用词句所指的意象形式，无边野草也如这般往来于生与灭之间，于整体观之，则不再拘于个体渺小的形态囿限，而以浩大的生命意象不断冉起重生。
野草，是艺术家于寻常重复的生活与工作之间往返时随处可见之物。它们顽强地展示自身的姿态，似乎也向她传达着对于当下生命困局的解答。在可见之处蔓生，在不可见处积蓄能量。在这个意义上，徐雅涵的绘画亦是她的时光与心迹的见证者，将生命从“停滞在永恒的默默无闻状态之中”解脱出来，直蔓延至明朗自在的、行健不息的世界中去。
BONIAN SPACE is delighted to announce the upcoming solo exhibition "I Pass Through the Pores of the Lands" by artist Xu Yahhan, which will take place from August 5th to September 12th, 2023. Curated by Gao Yumeng, the exhibition will feature over ten of the artist's latest paintings. Xu Yahans's paintings are a manifestation of her embodied experiences and a projection of her individual emotions. She externalizes the surging vitality of her own life into the elements of the artwork, transforming them into emotionally charged forms that respond to themes of confinement and liberation, insignificance, and vastness in life.
In her recent works, Xu Yahans transitions from early abstract forms to symbolically representative figurative expressions. As the narrative quality of her artwork gradually strengthens, she purposefully retains the unique creative techniques and personal elements from her abstract period. In this series of creations, she employs "Weeds" as a metaphor for individual existence. Within the constructed psychological space, it sprouts, spreads, and ultimately breaks free, extending into an imaginative world beyond the confines of reality, filled with unknown possibilities. For her, the process of painting is also an exploration of the existence of life. She transforms emotions and feelings into traces in her creative process, allowing their evolution to lead to uncertain outcomes. The imagery that ultimately emerges after repeated cycles of control and disruption represents her emotional world.
The artist constructs in her paintings not a tangible, objective world but a deconstructed and segmented spatial narrative through layers and displacements of visual elements. As the perspective advances, the space is no longer static but constantly changes and unfolds under observation. Curtains, window mullions, and fences, which constitute the main structure of the composition, form a protective stance inwardly, conveying the passage of time and emotions' sense of detachment and constraint. While providing a stable sense of security, they also restrict inner growth. However, within the painting, there are pathways for the flow of energy: backlit leaves, partially open doors, and inwardly ajar windows. The direction of light hints at the position where the observer's gaze is directed—precisely where wild grass is growing wildly. It thrives in every crevice, spreads across all open spaces, and overflows beyond any boundaries, ultimately reaching towards a bright and expansive distance.
The exhibition title, "I Pass Through the Pores of the Lands" is borrowed from a verse in the poem "The Cloud" by the English Romantic poet Percy Bysshe Shelley. Shelley regards clouds as the most flexible entities between sky and earth: condensing into water, dissolving in the pores of water; descending as rain, breathing in the pores of the soil; evaporating into gas, rising as clouds, in an endless cycle of transformation. The central imagery in Xu Yahans's paintings, "Weeds," self-generates in all visible and invisible pores of the land, possessing the energy to break through any obstacles. Compared to the boundless wandering of clouds, wild grass exerts a downward grasp, conquering and spreading relentlessly, indestructible. "I pass through the pores of the ocean and shores; I change, but I cannot die." Borrowing from the imagery conveyed by these lines, the boundless wild grass similarly moves between life and death, seen from a holistic perspective, transcending the limitations of individual insignificance, and continuously resurging as a grand image of life.
Weeds, frequently encountered by the artist during her back-and-forth between ordinary repetitive life and work, displays its tenacious posture, seemingly conveying answers to the current predicaments of life. It spreads where it is visible and accumulates energy where it is invisible. In this sense, Xu Yahans's paintings also bear witness to her passage through time and emotional traces, liberating life from "stagnating in an eternal state of obscurity", extending towards a bright, unrestrained, and vibrant outer world.
