展期 Period：
2023.7.1—2023.8.6
艺术家 Artist：
地点 Venue：
站台中国当代艺术机构 Platform China Contemporary Art Institute
新闻稿 Press Release：
“坚实的，也是扭曲的，有些角度喜欢凝视，视线游走，也容易模糊，但好像某种秩序总会找到自然的呈现。因为现实的无力，只有瞬间的出离才能通向自我。”
——吴杉
站台中国当代艺术机构将于 7 月 1 日呈现吴杉个展《探幽》。“探幽”将接续吴杉前两次个展的脉络，不止于作品内部的关联，而随时间步入未知的幽深处。1983 年吴杉前往芝加哥艺术学院接受了完整的现代艺术教育，在西方生活工作的二十余年中，逐渐形成极具个人特质的抽象语言。简练而纤细的线以或“显”或“隐”的状态反复勾勒、浮现、交汇、恰合。2006 年吴杉回到文人雅致气息浓厚的杭州生活与工作，选择了大漆这种特殊媒介，与过往形成的语言在巷弄与曲院间相遇。
吴杉的作品中，是艺术家日复一日的日课，也是其面对自我，观察自我时的叠加与收集。这根线所形成的生命节奏里，吴杉似乎在单纯的表现轮廓。他让线成为流淌的思绪，带领这些形状在空间中丰茂生长。我们或许能从这些轮廓中看到自然的影子，却无法从中识别一片叶子、一根枝条的具体形象。他的线在此隐密的滋长，深入，它们似乎成为追索内心宁静时遗留的痕迹，随着艺术家思想 与情感的延伸愈加恰合。吴杉将昆曲的音律感与园林的意味共鸣，取以寥寥意象，形成独有的律动和节奏。在“静”与“动”间，与大漆的创作过程一同回应着身体的感官体验。
这种含蓄而幽谧的脉动与传统园林和昆曲暗暗应合，也正是本次展览主题的来源。园林作为私人 庭院，隐蔽而私密，常采用曲径通幽的构造。潮湿而氤氲的气氛流淌于空气中，在亭榭廊槛、山水花木间，为观者营造出一种富有变化和探索性的身体体验。具象的假山造景与院落砖瓦在空间中错落，并不完全暴露在观者面前，而是巧妙地隐藏或部分展示，以不受侵扰之姿安居一隅。园林对于自然与人文关系的呈现，绝不止于简单的制造流水、绿叶、繁花和居所，而是以极为抽象且化繁为简的方式呈现出对自然的理解与转化。作为安置精神与欲望的住所，这种选择关乎每日生活的期许，也正是园林意趣的彰显，伴随着光线流转而构建出对时间和个体感知的理解。
吴杉作品中的景致是隐现的，这里没有直接通往结论的直线，就像在园林中找不到一条刀割般笔直的路。而在他作品中的这条线，正是连接艺术家私人精神层面的通道，在无形的内在世界中编织有形，形成对外在周遭极为简略而紧密的复现。最终在坚固的成熟结构中逃离，并寻求新的眼光和建构。或许，这是艺术家低调而沉静的邀请：剥去厚重的外界包裹，于自我的内在期许中获得轻逸，在精神的园林中曲径“探幽”。
文 / 于畅
“Solid and yet distorted, it is gazed from certain angles, as gazes wander and vision blurs, yet somehow a certain order always emerges in natural presentation. In the face of the inadequacy of reality, only fleeting transcendence can lead to the self.”
——Wu Shan
Platform China Contemporary Art Institute will launch solo exhibition of artist Wu Shan on July 1st —— "Step into the unknown Recesses". " The exhibition continues the trajectory established by Wu Shan's previous two exhibitions, extending beyond the internal relationships within his works and venturing into the unknown depths with the passage of time. In 1983, Wu Shan embarked on a journey to the School of the Art Institute of Chicago, receiving a comprehensive education in modern art. Over the course of more than twenty years living and working in the Western world, he gradually developed a highly distinctive abstract language, infused with his unique personal traits. Concise and delicate lines, alternately "revealing" and "concealing," repeatedly sketch, emerge, intersect, and harmonize. In 2006, Wu Shan returned to Hangzhou, a city resonating with the refined elegance of literati culture, and chose the medium of Chinese lacquer—a unique artistic medium. There, his language formed in the past encounters the alleyways and courtyards, intertwining with the surroundings.
In Wu Shan's artworks, it is the artist's daily practice, as well as a layering and collection of selfobservations. Within the rhythmic pulse formed by this thread, Wu Shan seems to simply depict contours. He allows the lines to become flowing thoughts, guiding these shapes to flourish within the space. Perhaps we can glimpse the shadows of nature within these contours, yet we cannot identify the specific forms of a leaf or a branch. The growth of his lines remains concealed, delving deep. They become traces left behind in the quest for inner tranquility, increasingly harmonizing with the artist's thoughts and emotions. Wu Shan resonates the melodic sense of Kunqu opera with the symbolism of gardens, capturing sparse imagery to form a unique rhythm and pace. Between "stillness" and "motion," they respond to the sensory experience of the body, intertwined with the creative process involving lacquer.
The subtle and enigmatic pulsation, resonating with traditional gardens and Kunqu opera, serves as the very source of inspiration for the theme of this exhibition. As private courtyards, gardens are concealed and intimate, often featuring winding paths that lead to secluded areas. A damp and misty atmosphere lingers in the air, creating a bodily experience rich in variation and explorationamong pavilions, corridors, and the interplay of landscapes and flora. Concrete rockeries and courtyard tiles are arranged in a fragmented manner, not entirely exposed to the viewer but cleverly hidden or partially revealed, finding harmony in undisturbed corners. The presentation of nature and human relationships in gardens goes far beyond the creation of flowing water, green leaves, blooming flowers, and dwelling spaces. It is a highly abstract and simplified manifestation of the understanding and transformation of nature. Serving as a dwelling for the placement of spirit and desires, this choice relates to the expectations of daily life and embodies the essence of garden aesthetics. It constructs an understanding of time and individual perception, flowing and transforming with the interplay of light.
The landscapes in Wu Shan's works are elusive, devoid of direct paths leading to conclusions, much like the absence of perfectly straight routes in a garden. Yet, in his artworks, it is this very line that serves as a conduit to the artist's personal spiritual realm, weaving the intangible inner world into tangible forms, creating a remarkably concise and intricate representation of the external surroundings. Eventually breaking free from rigid and established structures, he seeks new perspectives and constructions. Perhaps, this is the artist's understated and tranquil invitation: shedding the weighty trappings of the external world, attaining grace within the inner aspirations, and meandering along the pathways of the spiritual garden, step into the unknown Recesses.
By Yu Chang
