由考拉空間策劃并主辦的汪燎個(gè)展“三只耳朵” 將于2月27日下午四時(shí)開(kāi)幕。此次展覽不僅是考拉空間搜羅計(jì)劃之一，也同樣是本空間推出的首次個(gè)展。本次展覽將展出汪燎近期創(chuàng)作的18幅作品。

“三只耳朵”并非是對(duì)常規(guī)形象的反駁，更是對(duì)于藝術(shù)家個(gè)人內(nèi)心所發(fā)出的質(zhì)疑。耳朵如同聲音，在這個(gè)多元的環(huán)境下，除了自己的聲音，還有各種雜亂的聲音干擾著自己，也不能夠單純地去做自己想做的事。現(xiàn)實(shí)與理想之間本身不契合，不然理想也不為之理想，藝術(shù)家希望通過(guò)畫面中每一個(gè)具有生命的個(gè)體來(lái)對(duì)現(xiàn)實(shí)凝視與思考；耳朵如同窺視，那些想張望的、想掌控的，是能成為現(xiàn)實(shí)的理想，還是變成泡影的現(xiàn)實(shí)呢？

“Three Ears”， the solo exhibition planned and hosted by Koala Space will be opened at 4 p。m。 on February 27th。 This exhibition is not only part of our Solo Project， but also the first solo exhibition launched by the space。 The exhibition will show 18 works recently created by Wang Liao。

“Three Ears” is not a rejection to the conventional images， but rather the question from the heart of the artist himself。 Ears are like sounds。 In this diverse environment， apart from one‘s own voice， there are also various disordered sounds interfering ourselves， making it impossible for us to purely do whatever we want to do。 The reality and ideal do not fit in themselves， or else the ideal cannot be ideal anymore。 The Artist wants to express the observation and thinking on reality through every living individual in the scene； ears are like peeping。 Those looking around and eager to control， are they the ideal to become reality， or the reality to become bubbles？

汪燎，2004年就讀于湖北大學(xué)美術(shù)學(xué)美術(shù)教育專業(yè)，2012年畢業(yè)于湖北美術(shù)學(xué)院油畫畫面形態(tài)研究專業(yè)，獲碩士學(xué)位。2013至今任教于武昌理工學(xué)院藝術(shù)設(shè)計(jì)學(xué)院。主要展覽：第二屆南京國(guó)際美術(shù)展，南京（2015）；五行--當(dāng)代油畫五人展，武漢（2015）；“勇氣與自由”青年思想家藝術(shù)展，北京（2015）；第十屆凱撒藝術(shù)新星年度提名展，獲提名獎(jiǎng)，今日美術(shù)館，北京（2015）；新藝潮--國(guó)際藝術(shù)學(xué)院新進(jìn)博覽，澳門（2014）。

Wang Liao， an art education major enrolled in the Department of Fine Arts at Hubei University in 2004， graduated from the Department of Oil Painting Morphology at Hubei Institute of Fine Acts as a master in 2012。 From 2013 to now， served as a teacher in the Art and Design School at Wuchang University of Technology。 Major exhibitions： The Second Nanjing International Art Exhibition， Nanjing （2015）； The Five Elements -- Modern Oil Painting Exhibition of Five People， Wuhan （2015）； “Courage and Freedom” Art Exhibition of Young Thinkers， Beijing （2015）； The Tenth Annual Nomination Exhibition of Caesar Art Nova， won the award nomination， Today Art Museum Beijing （2015）； New Art Wave Expo -- International College of Art New Expo， Macao （2014）。

汪燎自述：

對(duì)于我，理想與現(xiàn)實(shí)之間不斷加深的矛盾是我主要的困擾，同樣也是我作品中主要的情感來(lái)源。都說(shuō)藝術(shù)家，同時(shí)也是理想主義者，不能說(shuō)善于幻想，而是總想著有那么一天出人頭地，成為比偶像更為成功的人，并且用這么“美好的一天”來(lái)支撐心中的藝術(shù)理想與現(xiàn)實(shí)。80年代出生的一批還可以用“年輕”來(lái)定義的藝術(shù)家群體，獨(dú)具個(gè)性而自我，用自己堅(jiān)硬的外殼反抗著外界施壓，不像上輩們與社會(huì)鏈接的那么緊密，我認(rèn)為更多地是在與自己做斗爭(zhēng)。而我作為一位年輕群體的一員，自認(rèn)為獨(dú)立的一塌糊涂，時(shí)常聽(tīng)不進(jìn)半句箴言。有這樣一句話“有的人，天生就是一顆倒長(zhǎng)的樹(shù)，他追趕著自己的最初”，我表示同感。

尼采也說(shuō)：“人類只是橋梁，一邊是動(dòng)物，一邊是超人，而人的生命應(yīng)該從動(dòng)物這一邊走到超人那一邊”。“超人”是尼采形容人類走向新物種一面所形成的單一類別。一個(gè)人如果只生活在群體里，那當(dāng)然是不夠的，應(yīng)該設(shè)法去做一個(gè)“超人”。我把這句話作為我的勉勵(lì)，是想說(shuō)，在每天都會(huì)有展覽發(fā)生的藝術(shù)大環(huán)境下，面對(duì)著郵箱中一封封的展覽資訊以及麻木感，怎樣去成為藝術(shù)環(huán)境下的“超人”，著實(shí)是我們這些埋頭畫畫的人所要思考的。

我不無(wú)時(shí)無(wú)刻這樣想著，在我每一幅作品里，都在掙脫集體尋找一個(gè)自我。想把自己弄明白，所以畫面中時(shí)常會(huì)出現(xiàn)多個(gè)我，一個(gè)是我自己本身，其他的將是與之對(duì)話的影子，“我”的角色有很多，或許畫面中一只散落的耳朵、一只被砸斷的腳、一雙引火的翅膀，也或許只是一個(gè)殘缺的局部。

我存在于一個(gè)充滿自然的環(huán)境中，動(dòng)物、樹(shù)枝，它們相互交疊。我一直鐘情于動(dòng)物形象以及在生活中隨處可見(jiàn)的東西，將它們組合在一起，碰撞出矛盾的共同體，同時(shí)也是一個(gè)在選擇中的猶豫與不安，矛盾的關(guān)系在我的畫面中占著重要的位置，盡管它們有時(shí)候顯得突兀，但它們比現(xiàn)實(shí)更加真實(shí)。當(dāng)我沉浸在由不同生物組成的世界里時(shí)，它們對(duì)于觀者來(lái)說(shuō)是虛構(gòu)、可愛(ài)與單純；而對(duì)于我，卻是寧?kù)o的、冷冷地反思出的成人世界，真實(shí)地發(fā)生過(guò)而留下的痕跡。面對(duì)著這些想得到的，未得到的、失去的、想拾取的，它們散落在畫面的每一處，到底應(yīng)該去做一個(gè)怎樣的選擇？

汪燎 2016年1月

Wang Liao’s self-introduction：

To me， the increasingly deepened contradiction between the ideal and the reality is my main trouble。 It is also the main emotional source of my works。 They all said that the artists are also the idealists。 You cannot say that they are always good at fantasy， but they really always think about becoming successful one day， to be a more successful person than their idol， and use this “beautiful day” to support the ideal and reality of art in their heart。 The generation born in the 1980s can also be defined as the “young” group of artists， provided with a unique personality and ego， resisting the outside pressure with their own hard shell。 Unlike their ancestors， they are not linked to society so closely。 I consider they are fighting with themselves more。 However， as a member of the young group， I believe that I‘m completely independent， often cannot listen to even a half motto。 There is a saying that “some people are born a reverse tree， chasing their own beginning”。 I feel the same way。

Nietzsche also said： “Man is a bridge。 On the one side is an animal， and on the other side is a superman。 Human life should start from the animal side to the other side of the superman”。 “Superman” is the single category of Nietzsche’s description of the human being stepping to the new species。 If a person only lives in a group， it is certainly not enough。 He should try to be a “superman”“。 I put this sentence as I encouragement， because I want to say that every day there will be exhibitions happening in the big art environment。 Facing one after another e-mails of exhibition information and numbness， how to become the a “superman” in the art environment is indeed we who are engrossed in painting should think about。

I‘ve been thinking like this all the time。 In every piece of work， I am trying to get rid of the group to find my ego。 I want to figure out who I am， so there are often several me in the painting。 One is myself， and the others will be the shadows talking to it。 There are many roles of “me”。 It may be a scattered ear， a smashed off foot， a pair of pyrophoric wings， or just a crippled part of me。

I exist in an environment full of nature， where animals and branches overlap each other。 I always love the animal images and things that can be seen everywhere in life， and combine them together， to crash out the community of contradictions。 Also， I hesitate and feel uneasy in selections。 The contradictory relationship occupies an important position in my picture。 Although they sometimes seem abrupt， they are more real than reality。 When I am immersed in the world composed of different organisms， they are fictional， lovely and pure to the observers； however， to me， they reflect the adult world， as well as the trace that are left after they really happened quietly and calmly。 In the face of these things people want to get， have not got yet， have lost， and want to pick up， what choice on earth shall we make as they are scattered in every corner of the picture？