创意来自同名小说。在小说中,索拉里斯海是胶质液体的海洋,具有极高的流动性和可塑性,有着不断变化的形态,它似乎还能够对外界刺激和人类的思维活动做出反应。在小说中,海洋表面会突然隆起、散开,形成各种奇形怪状的物体。 The creative inspiration comes from the novel of the same name. In the novel, the Solaris ocean is a gelatinous sea with high fluidity and plasticity, constantly shifting in form. It appears to respond to external stimuli and human thought. On the ocean's surface, sudden rises and dispersions occur, forming strange and fantastical objects.
在《时空隧道系列》里,我们看见作者那般诗意而又浪漫的情绪表达,就像《理性框架的虚空》,重灰色基底氛围的营造,展现出他对画面结构的理性诠释,数以累计的密度光线,像极光一样穿透黑暗天际。零散的光斑节奏,也在此时被凝固,它关乎生命的静止和永恒,同样也附着着他内心带着谜一般的情绪体验周遭事物。 In the "Time Tunnel Series," we witness the author's poetic and romantic emotional expression, exemplified by "Void of Rational Framework." The creation of a heavy gray backdrop atmosphere showcases his rational interpretation of the picture's structure, with accumulated dense light rays piercing through the dark sky like an aurora. The scattered rhythm
我们时刻被爱包裹,被爱束缚,同时也被爱伤及,但爱的内核源于我们对于爱的频率振动,与爱的时常的波段。《关于爱系列》充分将人的复杂情绪具体化:边界的自由法度,还有停留在中心位置的混沌深渊,交接、融合、分离……就这样把人性的尺度和情绪放大,如同我们在其中寻找到关于爱的真相,爱的魅力,和在我们身心之间的爱的秘密。 We are constantly enveloped, bound, and sometimes hurt by love, but the core of love stems from our vibrational frequency and the recurring wavelengths of affection. The "About Love Series" vividly embodies the complexity of human emotions: the freedom of boundaries, the chaotic abyss that lingers at the center, the intersections, fusions, and
《快乐女生系列》着重表现画面关于青春的激情和节奏,作者愈发自由书写水性材料在纸间划过的色彩浓度,造型的“无痕”陈设,将色彩意味推至无垠的空间。在这里,浅薄的色域代替了繁杂的造型语汇,同时转换至一类更为抽象化的心理表征:渐进空气,湿度,四季之间……人的智识感,手的温度,以及被保留的空白之地,衔接之壤的透气感,如诗歌一般歌颂青春的热情和朝气。 The "Happy Girls Series" emphasizes the passion and rhythm of youth in the paintings, as the artist increasingly indulges in the free expression of water-based materials, gliding across the paper with varying concentrations of color. The "traceless" arrangement of shapes pushes the meaning of color into boundless space. Here, s
《乐园系列》倾向于作者在实际田园风光中的欣然自得,类似于地图一般的错位并置,构成这一系列绘画的主旨特征。极简式的条纹铺设,和块状物的偶然性流淌,带来画面动静结合的恣意。《天堂》的出现,不仅是他内心未知空间的一种明镜期许,还是对交杂于现实与虚拟世界的美好想象。即使在绿洲之上,我们依然可见表面浮华下的万千势象。 The "Paradise Series" tends to embody the author's contentment found in actual pastoral scenery, with a misaligned juxtaposition reminiscent of a map, constituting the defining characteristic of this series of paintings. The minimalist striping and the accidental flow of block-like forms create a whimsical interplay of stillness and dynamism o
《水下系列》是作者对于“水”的主体意志的情感表意,是其对“水”这一特定物的自然想象。那些布满色域交织的造型体态,规则或不规则的形状设置,和“无序”位置的感性编排,恰如其分地表现出作者对“水流”这一单体形象的丰富联想。多层色系的铺陈,透质光亮的深沉色彩,带出“水流”在东方哲思里的生命思索。他通过虚拟物的真实形态来切入具象物的客体本质,从而将带有东方特质的水性回归至人的状态里,纵有一股人与自然天人合一的凝练与自信。 The "Underwater Series" represents the author's emotional expression of the subjective will of "water," embodying his natural imagination towards this particular element. The intricately interlaced shapes and colors, both regular and irregular forms, and the sensuous arrangement of "disorder
在南京博物馆,我看到了一块独特的矿石,这激发了我的创作灵感。用清透的水彩等综合材料来表现矿石的粗砺、棱角、光滑、剔透以及金属质感。我的创作过程就像计算机算法,似精确解构和重构出神秘的大自然的鬼斧神工。Inspired by a unique mineral I encountered at the Nanjing Museum, I've employed a combination of materials, primarily transparent watercolor, to capture the raw, angular, smooth, translucent, and metallic qualities of minerals. My creative process mirrors that of a computer algorithm, as if I'm precisely deconstructing and reconstructing the mysterious artistry of nature.
西藏是个神秘而伟大的天堂,我曾在那儿进行了一个月的写生。巴松错的蓝无法用语言形容,那色彩仿佛来自于天堂,而非人间。我愿把这种景象记录于画笔下,那是我无法再回到的过去。 Tibet, a mystical realm, became my canvas for a month. The ethereal blue of Basong Co Lake inspired me to capture its celestial beauty. With my brush, I sought to preserve this transcendent moment, a fleeting glimpse of a paradise lost.