展期 Period：
2023.10.14—2023.11.18
艺术家 Artist：
策展人 Curator：
赵倩颖 Serena Zhao
地点 Venue：
艺术仓库 ArtDepot（北京）
新闻稿 Press Release：
ArtDepot艺术仓库欣然宣布于2023年10月14日于北京798空间呈现独家代理艺术家孙宇坤个展「島」。展览展出17幅艺术家的架上作品，聚焦艺术家于2022-2023年间结合其自身经历对历史人物肖像及场景的再提炼创作，重新定义喷漆材料在架上绘画的无限可能性。
本次展览将呈现艺术家2022-2023年的十余件精选架上作品。近年以来，孙宇坤把内容载体聚焦在历史上各类陶瓷人物及场景并对其重新提炼，剪切，采样，放大，再经过独特的创作手法和审美理学，不断探索和突破材质坚硬性与脆弱感间的微妙平衡见长。
展现动态与静态之间的叙事张力，始终是孙宇坤的创作动机之一。在特定场景的布局中，透过其对光影的捕捉构建，通过其现代生活相关的“肖像”与以美术史“肖像”并置对话，将静止的物体被赋予神情姿态，以动作之势流露出耐人寻味的情绪。在这一富有个人色彩的绘画语言下，画面物品的立体感模糊了布面与现实的界限，使得观者仿佛观仰雕塑一般捕捉其神秘意味。
借由在公共艺术领域的实践，让孙宇坤与作为街头艺术的重要媒介不谋而合，粗旷的自喷漆质地被细腻如斯的运用至画布上，色彩点阵的技法得以渲染并区别出与传统架上绘画不同的朦胧观感。如在《镜中人》《长岛与黑8》等系列作品中，在布面制作有损伤感的纹理材料，营造“磨坊电影”粗糙的制作，胶片腐蚀以及恶趣味的效果，并与瓷器光滑表面刻意形成对立破坏感，同时利用自喷漆粗粉的材料性格将被画物体去“静物”化更进一步增强这种效果的邪典趣味，使画面内容极具冲撞和戏剧感。
孙宇坤在延续以往创作方向的同时，将叙事内容与之相结合，揭示人类灵魂最本能的，也是如同布兰诗歌命运女神回首前人类最后狂欢时刻的“群相”，被孤立如岛一般的瞬间情绪，同时暗示观者在画面所形成的上述类似电影暗角镜头窥视效果所带来的一个有趣现象- 这些陶瓷器就像一面面历史车轮的镜子，投射到每个时期每个人的必然。
ArtDepot is honored to present our exclusive artist Sun Yukun’s solo exhibition "Man In The Mirror" at Beijing 798 Space on October 14, 2023. The exhibition will exhibit 17 of the artist's paintings, focusing on the artist's refining of historical portraits and scenes based on his own experience between 2022 and 2023, redefining the infinite possibilities of aerosol spray on easel paintings.
The exhibition will present more than fifteen selected easel paintings of the artist from 2022 to 2023. In recent years, Sun Yukun has focused his content vehicle on various ceramic figures and scenes of ancient history, including but not limited to refining, cutting, extracting, and amplifying them. Through his unique creative techniques and aesthetic theories, Sun has continuously explored and broken through the intricate balance between the hardness and fragility of material nature.
Delivering the narrative tension between dynamic and static has always been one of Sun Yukun's creative motivations. In the layout of a specific scene, through his capture and construction of light and shadow, the juxtaposed dialogue between “portraits” related to modern life and “portraits” from art history, static objects are endowed with body gestures and expressions, revealing intriguing emotions through movement. Under his artistic language, the three-dimensionality of the objects on the frame blurs the boundary between the canvas and reality, allowing the viewer to capture its mysterious connotation as if admiring a real sculpture.
Through the years of practice in the field of public art, Sun Yukun coincides with the important medium of street graffiti art. The rough texture of aerosol is applied to the canvas delicately almost to the highest level. The technique of color dot matrix can render and distinguish a sense of hazy look which is different from traditional easel painting. For example, in a series of works such as "Man in the Mirror" and "Long Island and Black 8", creating a damaged texture onto the canvas to mimic the rough production and film corrosion of "grindhouse movies", it deliberately creates a sense of contrast and destruction with the smooth surface of the porcelain. At the same time, the material character of the aerosol coarse powder is being used to de-"still life" the painted objects, further enhancing the cult interest, and making the painting content extremely conflicting and dramatic.
While continuing the previous creative direction, Sun Yukun combines its narrative content with it to reveal the most instinctive nature of the human soul. just like when Fortuna the goddess of destiny of Carmina Burana looks back at the last carnival moment of mankind. The momentary emotion of being isolated like an island also hints at an interesting phenomenon caused by the above-mentioned voyeuristic effect similar to the movie dark angle lens formed by the viewer - These ceramics are like mirrors of the wheels of history, projecting the inevitable for everyone in every period.
