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2007年1月3日至2月28日
人群中這些面孔幽靈一般顯現；
濕漉漉的黑色枝條上的許多花瓣。
—意象主義先驅艾茲拉•龐德
作為龍藝榜畫廊推出的探索80後新銳藝術精神的系列藝術展之二，此展覽聚焦具有抽象性傾向的學院派油畫家在東方意象和寫意傳統烙印下的創新。參展藝術家包括曾獲中央美院王嘉廉油畫獎的陳松濤、謝意、吳以彩和謝磊等。
當代中國藝術忙於對付全球化帶來的各種社會與個人問題，藝術題材的社會化、當下化成為潮流，而參加“回到畫面”新銳群展的藝術家應和了80後對當代熱門題材的漠然。面對淩亂的現實，他們堅持詩化的理想，表現出對架上繪畫的抽象體驗與中國感受方式結合的熱忱，其作品特徵是抽象與意象*的融和。東方審美對神似與氣韻的主觀頓悟，與西方抽象藝術對內心情緒的通感與宣泄在此匯合，他們以朝聖般的執著不懈地在光與影之間追問永恒的詩意，帶領觀眾抵達愉悅忘我的微妙境界。
陳松濤古代人物作品延續著中國文人畫自然、自在的優雅華麗，潑墨般的油彩和礦物材料中冬梅、夏荷、雪松、白鷺、仕女、漁翁等在歷史沉積的斑駁中凸現，源於東方寫意的水暈墨色的抽象趣味和文人氣韻在油畫中浮雕般被強化，古典意象和神韻流動變幻，在畫面中可以感受到夏荷匆促的凋零和雪中寒梅的清徹暗香。
作為迷戀搖滾酒吧文化的藝術青年，謝意作品對酒吧中的流行因素與西方符號視而不見，她的興趣在於幽光醉態中閃爍的酒杯旁落寞的青年、穿透心扉的弦樂器中歌手的嚎叫。音樂、光線、人物和內心的激情組成的抽象印象通過刮痕、塗抹，刀一般的雕刻出意象與抽象交錯的複雜情緒和畫面效果。作品濃烈飽滿，爆裂的光彩充滿張力，雕琢出歌者忘我深情的瞬間，在最後稀薄的理想主義的虛幻里長夢未央。
吳以彩(生於1979年)敏感豐富的女性世界縈繞著夢幻般的微妙光影，書寫自如，氣韻噴薄，畫面情趣橫生、微妙而詩意，顯示了女藝術家高貴心靈與技法的默契和昇華，華麗中閃耀純美的柔情。
目前遠赴法國研習抽象藝術的謝磊豪情恣肆地描述了中國的混沌太虛世界，生命如星辰爆發後的微粒，融于虛幻中，以抽象形式顯示了中國哲學的恢宏意境。他對思辨精神的學術興趣顯示了先鋒派對中國抽象藝術深入探索的執著。
他們企圖擺脫浮世喧囂，對畫面苦心孤詣地經營，追尋中國寫意傳統中的抽象性（筆墨、肌理、痕跡等）在油畫的繪畫性趣味的營造；“似與不似之間”的中國式朦朧意象與西方抽象精神的融和，在其畫面上産生精妙純粹的視覺盛宴，流露出學院派精英對中國文人畫的超然風骨的渴望。
注：意象主義作為發軔于上世紀20年代英美精英詩歌運動，不主張對客觀現實的機械反映，拒絕直接表達主觀的情感，而是用意象約束感情。“意像是一團相交融的思想，富有活力。” 意象主義受到東方詩學和思維觀念的深刻影響。如唐代詩人杜牧“娉娉嫋嫋十三余，豆蔻梢頭二月初。”
80後新銳藝術系列展之二 作品展覽
Back to Canvas, the Poetry Between Abstract and Imagism.
Post-80s avant-garde artists series exhibitions Phrase II
Amelie Gallery
Curator: Tony Chang
Jan 3st-Feb 30, 2007
The apparition of these faces in the crowd;
Petals on a wet, black bough.
By Ezra Pound
This is the second part of post-80s artists series launched by Amelie Gallery, exploring new shifts of focus of Chinese avant-garde, shedding light on what will impact on the contemporary Chinese art scene in the very immediate future.
Against the impact of globalization, subjects of contemporary Chinese art is in a flustered manner responding to social and personal problems, while this show represents a group of Post-80s artists (Xie Yi, Chen SongTao, Wu YiCai, Xie Lei etc.) who realize that contemporary is only temporary. From chaotic and superficial realities, they decide to retreat back to canvas, their ambition as oil painters is more concerned with something of eternal quality.
Influenced by the abstract heritage in Chinese freehand brushworks, they pursue innovative breakthrough on abstract paintings, which can be summarized as integration of abstract and imagism; the later represents a realistic and emotional complex in an instant of time, a sudden liberation, an oriental way of visualization in Chinese psychological system.
Chen SongTao exhibits his award-winning works (Charles B.Wang Oil Painting Scholarship at Central Academy) based on classic Chinese imageries like winter plum, summer lotus, snow pine, fisherman, aigrette and the lady, in which he distills and magnifies abstract beauty of Chinese freestyle brushworks tradition to amazing novelty and intensity.
Xie Yi’s works were inspired by visits to pubs where live rock bands played every evening. In the dimly lit bar, she saw faces, bodies, and expressions seemingly immersed in the darkness. She was moved by the sequins on dresses, collars, sleeves and braces that twinkled with light, creating the impression that they had left their owners and were floating in the air. Expressing it as “hope without purpose, remembrance without memories, and presence without existence”, Xie Yi creates engaging abstract tension on rock, youth, dreams and illusions.
In female artist Wu YiCai (born in 1979)’s world, vulnerability and fragile female sensations, hidden in delicate shadows and lightings, demonstrate her elegant styles coherently responsive to a sensitive heart.
Xie lei (who is researching western abstract in Paris) create dynamism of form and emotion in abstract style, Chinese philosophical vision to chaos and universe makes his work uniquely Chinese.
These artists are intellectually mature and critical, they elevate reality with poetry, uplift boredom to aesthetics excitement, engaged in exploring Chinese way to abstract purity, leading us to a place that is more desirable and cozy than the hard reality.
Note: Imagism, a literary movement launched by British and American poets early in the 20th century, which was profoundly influenced by oriental poetry, most notably the four-line Chinese lyric.
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