展期 Period：
2023.11.17—2023.12.30
艺术家 Artist：
地点 Venue：
新闻稿 Press Release：
凯旋画廊荣幸宣布将于2023年11月17日至12月30日期间，呈现艺术家王亚彬的最新个展「锦瑟」。本次展览标题取自唐代著名诗人李商隐（约813-858年）所著的七言律诗《锦瑟》，希望借此在展厅内再现艺术家对逝水年华的追忆，以及对老庄哲学思想中艺术最高精神的坚持与探索。
王亚彬1974年生于河南，1994年毕业于河南师范大学艺术系。作为中国当代绘画的代表人物，王亚彬以鲜明个人风格广受瞩目，擅长运用西方的绘画语言表达东方的意境。早期王亚彬的绘画语言偏重＂叙事＂，近十年来逐渐转向＂写意＂。他从文学、历史、诗歌、古典及现代艺术中汲取养分，凭借天马行空的想象力和敏锐的内心体验，在传统和当代、东方与西方之间找到平衡，编织着属于自己的梦境。
此次展览呈现的王亚彬自2020年至今创作的十余幅绘画作品，如同李商隐的《锦瑟》诗句，华美绚丽，含蓄深沉。画中物象高度提炼简括，呈现出半抽象的状态，并在猛扫狂泼中，让所有物象都被油彩层层覆盖，恍若水中游鱼，在动荡的色层中沉浮隐显。同时精妙地控制色泽和质地，让画面出现某种中国古代壁画的肌理和西方绘画的视觉张力，在整体上强化了画面的寓言和象征意味。
TRIUMPH GALLERY is pleased to present “In Search of Lost Time,” the latest solo exhibition of Wang Yabin, which runs from November 17th, 2023 to December 30th, 2023. The title of this exhibition is taken from the seven-character poem The Sad Zither by the Tang Dynasty poet Li Shangyin, through which the artist reflects on the passage of time and the remembrance of the bygone, as well as his lasting interest in the interpretation of art in Lao-Zhuang Taoism.
Wang Yabin was born in Henan Province in 1974 and graduated from the Art Department of Henan Normal University in 1994. As a leading figure in Chinese contemporary painting, Wang Yabin has garnered much attention for his distinctive style, which the painterly language of the West to convey an Eastern sensitivity. The early works of the artist centered more on the “narrative” but he has turned to a more “Xieyi (to transcribe the idea)” mode in the last decade. He draws inspiration from a plethora of sources such as literature, history, poetry, and classic and modern art. Through his unfettered imagination and inner experience, he finds a balance between the traditional and the contemporary, the East and the West, allowing him to weave his fantasies into beings.
This exhibition will showcase a series of recent paintings Wang Yabin has embarked on since 2020. Directly inspired by the enchanting lines in Li Shangyin’s The Sad Zither, these paintings reveal a splendid yet subtle vision. The artist has refined and developed the form of his subjects to an extreme that hovers in a transitory state between abstraction and figuration. His commanding gesture of sweeping and splashing veils his subjects with layers of fluctuating paint, transforming them into beings that “swim” across these layers. Wang’s meticulous control over the hue and the texture conjures up on his paintings the surface of ancient Chinese murals and the pictorial tension of Western paintings, bestowing his compositions an allegorical and symbolic significance.
