芳草地畫廊與秦鳳玲的合作始于2013年，至今已有兩個(gè)年頭，每一個(gè)路過秦鳳玲作品的觀者，都會(huì)駐足畫廊細(xì)細(xì)品味畫面。這些漫布堆疊的小人兒散發(fā)出的純真爛漫氣息，讓畫作透露出輕松、抒情、睿智的特質(zhì)——視覺快樂的背后，卻是嚴(yán)峻、殘酷和沉重的社會(huì)現(xiàn)實(shí)。無論從學(xué)術(shù)意義的角度還是從藝術(shù)市場(chǎng)的活躍度出發(fā)，秦鳳玲的作品都帶給芳草地畫廊無限的驚喜和希望。此次芳草地畫廊很榮幸地邀請(qǐng)到秦鳳玲老師，為其舉辦個(gè)人藝術(shù)生涯中重要的個(gè)展，同時(shí)也表達(dá)了我們對(duì)藝術(shù)家給予信任的感謝和對(duì)今后長(zhǎng)期合作的美好祈愿。
秦鳳玲自2005年在畫壇初露麟角時(shí)，國(guó)內(nèi)外一線策展人、評(píng)論家紛紛贊嘆這位“self-taught”女性藝術(shù)家和她意趣橫生的作品。而對(duì)大多人來說，秦鳳玲這個(gè)名字還是模糊的，不發(fā)聲的，不活躍的，甚至是帶有依附性的。她的先生王魯炎是中國(guó)當(dāng)代藝術(shù)重要的引領(lǐng)者之一，人們好像無法不把夫妻二人分開來講，提到秦鳳玲總要談?wù)勍豸斞住Ｊ聦?shí)上，王魯炎和他們的朋友們，的確是秦鳳玲藝術(shù)生涯的啟蒙老師。作為一個(gè)沒有接受過正統(tǒng)學(xué)院式美術(shù)基礎(chǔ)繪畫教育的女性藝術(shù)家，她一開始是不拿畫筆的。她在朋友聚會(huì)時(shí)忙于廚房和客廳，做飯泡茶的間隙，聽這些優(yōu)秀評(píng)論家、藝術(shù)家的熱烈討論。慢慢的，她開始被影響，開始參與討論，開始有“想說的話、想畫的畫”。
秦風(fēng)玲自2005年起，開始多以女人的想像和心緒為題材進(jìn)行創(chuàng)作，一直關(guān)注的社會(huì)，一直體驗(yàn)著的生活環(huán)境，都是她想跟大家講話的題材。 “我的畫都是憑借我的感覺去畫的，不是說畫需要什么，而是我想看什么，這就夠了”，秦鳳玲的畫是她的生活日記，是她專屬的抒情，畫畫已經(jīng)是生活的一部分，不是刻意的，不是一時(shí)萌生的，“我覺得我的創(chuàng)作不是一個(gè)激情，而是生活中感受的流露，我只關(guān)注自己的生活，關(guān)注我的周圍，關(guān)注我要感受的”。你不能依據(jù)她的自述就去評(píng)判或者斷言，秦鳳玲是封閉的，是家庭的，是女性的。她的畫視野開闊，信息萬千，是中國(guó)當(dāng)代繪畫譜系的新解構(gòu)，是“新繪畫”最好的詮釋。獨(dú)立性與實(shí)驗(yàn)性讓秦鳳玲在畫壇“橫空出世”，占有重要的一席之地。
秦鳳玲獨(dú)有的繪畫手法是用丙烯顏料制作浮雕小人兒，她將顏料從顏料管中直接擠在畫布上，巧妙仔細(xì)地塑造成人物形象，它們有眼睛，嘴巴，甚至是神態(tài)，迷茫的，吶喊的，張望的，焦急的。我們通過畫面可以感受到藝術(shù)家與眾不同的“說話方式”，她想講的和我們體驗(yàn)到的，或許一樣，或許不一樣，畫面中的人物狀態(tài)，或許像我們自己，或許像我們不想變成的人。秦鳳玲的作品大多蘊(yùn)含了對(duì)“集體無意識(shí)”的概念表達(dá)，稠密的人物既與復(fù)數(shù)和數(shù)量相聯(lián)系，又與個(gè)人的集體記憶和經(jīng)驗(yàn)相關(guān)聯(lián)——兒時(shí)的少先隊(duì)、集體活動(dòng)、文革的紅衛(wèi)兵組織等?！镀臁罚?008年）由一組組顏色鮮紅、神態(tài)微妙的女性微縮人物形象構(gòu)成。她們?nèi)缤盆F般彼此緊挨著，畫面?zhèn)鬟_(dá)的理智和情感均揭示了活躍在表面之下的沖動(dòng)?！冻鞘械拈g隙-2》（2009年）更是直面了現(xiàn)今社會(huì)城市人口密集，交通嚴(yán)重?fù)砣@一社會(huì)聚焦問題，在光鮮斑斕的生活下，人們內(nèi)心深處散發(fā)出的浮躁和不安定，與鮮艷的表象碰擊沖撞。秦鳳玲也時(shí)常巧妙運(yùn)用比喻、擬人、想象和夸張的方式表現(xiàn)她的繪畫內(nèi)容，在作品《菜蟲》（2007年）中，她把爬在大白菜上密密麻麻的蟲子擬人化，反饋了藝術(shù)家對(duì)生活生命的敏感體驗(yàn)；在作品《階梯》（2009年）中，一架高不可攀的梯子和擁擠在一起爭(zhēng)先恐后向上攀爬的人群，隱喻了人對(duì)名利與物的無度欲望。是幽默詼諧還是深刻殘酷，都是觀者自己的體會(huì)。
在二十世紀(jì)八九十年代，中國(guó)進(jìn)入了突飛猛進(jìn)飛速發(fā)展的新社會(huì)，藝術(shù)家們也因?yàn)樯鐣?huì)潮流而深受影響，一系列的特寫面部肖像繪畫作品接踵而來?？v觀中國(guó)當(dāng)代藝術(shù)的新“F4”天王，他們的作品都被深深烙上了個(gè)人印記。無論是岳敏君作品里標(biāo)志性的“傻笑”面孔、方力鈞極具個(gè)性的“光頭”人物形象，或是張曉剛“大家庭”和“血緣”系列里人物憂郁的表情，還是王廣義“大批判”里揮舞的拳頭，都是藝術(shù)家對(duì)周遭生活敏感體驗(yàn)的視覺化表達(dá)。在這場(chǎng)洪潮中，秦鳳玲沒有被影響被左右，沒有去模仿，或許這就是她不受外界打擾的平靜生活帶來的最大裨益。她稚拙堅(jiān)定地甚至是固執(zhí)地用自己能用的唯一繪畫技巧，書寫自己的生活，表達(dá)自己想說的話。秦鳳玲是自由的，獨(dú)立的，她在完成作品后，會(huì)在成品中得到新的反饋，新的啟示，新的感受。
“秦鳳玲的作品既保持繪畫的平面性，又有雕塑的立體感。在許多畫家不得不在傳統(tǒng)繪畫原則的限度中畫著‘似曾相識(shí)’缺乏個(gè)性的繪畫時(shí)，傳統(tǒng)繪畫語言的造型、筆觸、素描和構(gòu)圖已在她的繪畫中完全消失，取而代之的是她自己獨(dú)創(chuàng)的一套繪畫語言。她成功跨越了傳統(tǒng)繪畫的界限，真正實(shí)現(xiàn)了她所期望的‘我想畫自己的畫’的夢(mèng)想”。黃篤先生像一位伯樂一樣，把一直默無聲息的日記藝術(shù)家推到了大眾面前，讓我們感受藝術(shù)家的喜怒哀樂，感受我們自己的喜怒哀樂。在紛雜多變的現(xiàn)今社會(huì)，秦鳳玲帶著自己質(zhì)樸純凈的心靈日記與我們相約芳草地畫廊，她用原色創(chuàng)造的畫面人物又會(huì)給我們帶來哪些新的視覺體驗(yàn)，不禁讓人期待。
我們也期冀各位觀者光臨本次展覽時(shí)，能在秦鳳玲老師的原色藝術(shù)作品中，品嘗屬于自己的原味心靈餅干。
芳草地畫廊與您相約仲夏榴月，一起享受這份視覺饕餮盛宴。
Foreword
The cooperation between Parkview Green Art and Qin Fengling started in 2013. In the past two years， Qin’s works has attracted each and every visitor to the gallery. These small figures， scattered or piled， give an air of innocence and naturalness， lending to the paintings something light-hearted， lyrical and intelligent. Beneath the visual cheerfulness， however， is the harsh and bitter social reality. These paintings give the gallery a wealth of surprise and hope with respect to both academic studies and ark market. Parkview Green Art has the honor of holding an important exhibition for Qin， which is also an embodiment of our gratitude for her trust and best wishes for our long term cooperation.
In 2005 when Qin made her debut as a painter， some leading curators and art critics were amazed at this “self-taught” woman artists and her interesting works. To many people at that time， Qin Fengling， as a name， was obscure， silent， quiet， and even dependent. Since her husband， Wang Luyan， is an important figure in contemporary art in China， people find it hard to mention one without the other. It is true that Wang is inevitable in any discourse about Qin. He， together with their artist friends， was actually her first teacher in art. As a woman artist without a formal background in regular academic training in painting， she did not start with a painting brush. While keeping herself busy cooking in the kitchen and making tea in the sitting room， she was exposed to the heated discussions among these critics and artists. Little by little， she came under their influence， joined their discussions， and began to have “words to say and pictures to paint”.
Her first series in 2005 were closely related to imagination and sentiments unique to women， and those about society and living environment were also her concern to share with the public. “These paintings follow nothing but my feelings. It does not matter what a painting needs but what I want to see. That’s it.” We might as well call these paintings her diary， her lyrical world. Painting has become an integral part of life， not something added or an impulse. “My works are not the result of passion， but flow of feelings in life. My eyes are focused on my life， on what’s around me， and on what I want to feel.” It is not wise to refer to her own statements and make a hasty judgment that she is “closed-minded”， homely ， or feminine. On the contrary， her paintings， open and highly informative in their own right， deconstruct in a revolutionary way contemporary painting in China and offer most vivid interpretation on the pictorial school called “New Painting”. It is the independent and experimental quality of these paintings that has distinguished Qin in the art community in China and earned her a rightful place.
The little relief figures in acrylic paint are the result of her signature technique. The paint is squeezed directly onto the canvas to give life to these figures in a skillful and careful way. They have eyes， mouths and even looks： lost， anxious， shouting and looking around. These paintings allows us to feel the artist’s unique way to “communicate”. What she expresses might be the same as what we feel， or maybe different from， and we might be doing the same thing as the figures in the painting do， or sometimes they are just the kind of person we do not want to be. Most of her works involve the concept of “collective unconsciousness” in that the densely placed figures not only highlight the numbers but also are connected with an individual’s collective memory and experience， such as Young Pioneers in the childhood， group activities， Red Guards in the Cultural Revolution， etc. “Flags” (2008) consists of groups of miniature red female figures with subtle facial expressions. Nestling up against one another， these figures conveys the sense and sensibility that betray the hidden impulse. “Gaps in the City Landscape-2” (2009) depict revealingly the densely populated and heavily congested cities. There is a sharp contrast between the bright and colorful surface of city life and the restlessness and insecurity in our inner world. Also she skillfully incorporates metaphor， personification， fantasy， hyperbole and other literary techniques in his production. The swarms of worms on the Chinese cabbage In “Cabbage-worms” (2007) are personified to convey her sensitivity to life； “Ladder” (2009) features a high ladder and a crowd falling over one another to climb the ladder is metaphoric of the insatiable hunger for fame and material wealth. It is up to the viewers to decide whether it is a humor or a satire.
In the 1980s and 1990s， with China speeding into the new era， the artists began their aesthetic experiments， and close-up portraits were just part of their practice. The top four artists in this line all have distinctive characteristics. From Yue Minjun’s “laughing faces” to Fang Lijun’s “bald heads”， to the melancholic faces in Zhang Xiaogang’s “Home” and “Bloodline” series， and to the fists in Wang Guangyi’s “Great Criticism” series， the visual expressions are all concretization of the artists’ sensitivity toward life. Qin， however， did not get involved in this trend. She was not much influenced and did not imitate them， which might explain the real benefit of the peaceful life she enjoyed. Recurring to her own pictorial techniques， in an unsophisticated， even stubborn， way， she translated her own life， as well as what she wanted to express， into pictorial form. In this sense she enjoyed freedom and independence. From her finished works of art she derives new feedback， insights， as well as feelings and impression. “Qin Fengling’s works show a duality of pictorial plane and sculptural dimensions. In contrast to some artists who are confined to conventional painting principles that lead to uniformity ， Qin has replaced the modeling， strokes， sketch and composition in the traditional vein with her own pictorial vocabulary， thus realizing her dream of ‘painting my own painting’ by overstepping the boundary of traditional painting.” Like a talent scout， Huang Du unveiled to us a quiet diary artist， so that we can share the full spectrum of her emotions and have a tasted of ours. In a context of modern life characterized with complexity and changes， Qin will meet us at Parkview Green art， taking along the diary of her pure and innocent soul. What new visual experience these new figures in primary colors will meet our eye？ It is really something to look forward to. We sincerely wish that all the visitors to this exhibition can identify and experience something uniquely their own. Again Parkview Green Art cordially invites you to take a fantastic trip here and enjoy with us this great visual feast .
Parkview Green Art
April 23， 2015
