近20年來，楊沛霖幽居於浙江余姚四明山腳下，以極簡的生活方式體驗、思考著這個世界。這是他的首次當代水墨作品個展，用獨特的藝術語言與創作方式呈現出他的認知與思考。
作為一名有著長時間書法經驗的藝術家，楊沛霖使用的主要材料仍然是水、墨和宣紙。這些作品尺幅巨大、細節耐人尋味，他用折疊、捆紮、滾壓、拓印等方式進行創作，每一種動作構成了一個視象系列。這些動作極簡，同一維度下的重復，最終卻呈現出多維而相異的物象，楊沛霖作品的視覺魅力正在於此。
在楊沛霖的作品中，充滿了形式、色彩與線條之美，但最終打動觀者的是其中涌動著的生命氣息，這來自於水墨的材質與中國的哲學觀念。在他的創作過程裏，體現著人與自然的和諧。因為簡單，故能純粹，因為相異，方能無限。水墨與物象僅是載體，楊沛霖真正的作品是他的“意”。“意”從“無”而來，與“象”共同生發，最終與“象”融而為一。
近年來，中國的水墨創作呈現出多元的新變化，藝術家們不再局限于傳統的藩籬，而是從不同角度溯源而上，回到本源，在當代語境下激活這種古老媒介的潛能。我們更欣喜地看到，中國的當代藝術家們開始將傳統哲學觀念完美融入到當代藝術的創作中，用更豐富的藝術語言講述自己對世界、對生命真實的體驗與認知。楊沛霖就是這樣的一位藝術家。
策展人 許柏成
Unintended Presentation：Yang Peilin Solo Exhibition
Preface
For nearly 20 years, Yang Peilin has been living at the foot of Siming Mountain in Yuyao, Zhejiang Province, experiencing and thinking about the world in a minimalist way of life. This is his first solo exhibition of contemporary ink art works, which presents his cognition and reflections with his unique artistic language and creation methods.
As an artist with a long experience of calligraphy practice, Yang Peilin uses water, ink and rice paper as the main material for his ink experiment. His works - huge in size and intriguing in detail - were created by folding, binding, rolling, rubbing and other methods, each of which generated a visual series. These minimalist movements were repeated in the same dimension, yet presented multidimensional and diverse images in the end, and that is exactly the visual glamour of Yang Peilin's works.
Yang Peilin's works are full of beauty in form, color and line, but what ultimately strikes the viewers is the flow of life therein, which is derived from the material of ink as well as the concepts of Chinese philosophy. The process of his creation embodies the harmony between man and nature. It is simple, so it is pure; it is diverse, so it is infinite. While ink and physical images are just the carriers, Yang Peilin's real work of art is his"impression". The"impression" comes from"nothing", grows together with the"image", and finally merges with the"image" into one.
In recent years, Chinese ink art has taken on a variety of new changes. Artists no longer confine themselves to the traditional barriers, but trace and return to the origin from different perspectives, thereby activate the potential of this ancient medium in the contemporary context. We are more pleased to see that contemporary Chinese artists have begun to perfectly integrate traditional philosophical concepts into their creation, using richer artistic languages to express their experiences and cognition of the world and the truth of life. Yang Peilin is just such an artist.
Curator, Xu Baicheng
