置頂公眾號(hào)
Qu Lei Lei
曲磊磊
Oxford Sunset
傍晚的牛津
Ink on paper
紙本水墨
16×22cm
2016
Permanent collection in the Ashmolean Museum
阿什莫林博物館永久收藏
簡(jiǎn)短的自述
>>>曲磊磊<<<
從小對(duì)美的興趣和追求，引導(dǎo)我走上藝術(shù)之路。
如果說(shuō)在這條路上真正的起步是1979年“星星美展”，那麼1989年則是一個(gè)歷史性的新起點(diǎn)，那時(shí)候我更深地明白了，要做什麼樣的人，要畫什麼樣的畫。
有點(diǎn)巧，差不多每五年左右開(kāi)始專注於一個(gè)主題，一種思考，一個(gè)系列，力求一步一個(gè)腳印。
1979年到84年，是我的‘星星’時(shí)期；
1985年到89年前後，做了《水墨英倫》系列；
1989年到95年前後，《夢(mèng)中的太陽(yáng)—我的半生》系列；
1996年開(kāi)始到現(xiàn)在，《面對(duì)未來(lái)》系列；
2000年到05年，《每個(gè)人的一生都是一部史詩(shī)》系列；
2005年開(kāi)始至今，《筆墨光影—唯美主義》系列；
2010年起，做《帝國(guó)》系列；
2015年起，做裝置《元素和人性》。
現(xiàn)在，回頭看近四十年的努力和探討，其中有若干一以貫之的邏輯和原則，也就是我對(duì)藝術(shù)的一些基本看法和實(shí)踐的準(zhǔn)則：
第一，這些作品都是關(guān)於人的，從觀念到形式和技法，都通過(guò)人的生存狀態(tài)，去關(guān)注、研究、表現(xiàn)生命的價(jià)值、生存的意義、人性的自由和尊嚴(yán)；
第二，計(jì)黑當(dāng)白，以光入畫。筆墨宣紙如何表現(xiàn)光影，如何把握黑白關(guān)係，人物畫如何正確嚴(yán)格運(yùn)用人體解剖科學(xué)，是基於達(dá)到作品的深度和力度的要求上而必然提出的，這也是在中國(guó)藝術(shù)史上，我們長(zhǎng)於古人之處；
第三，這種繪畫語(yǔ)言，試圖把東方和西方，古典和現(xiàn)代融匯貫通，創(chuàng)造一個(gè)新的東西，是自然而有機(jī)的融合；
第四，作品本身在純粹技法層面上，必須經(jīng)得住專業(yè)眼光和時(shí)間的檢驗(yàn)。
我想，能夠做到這幾點(diǎn)，就可以跟庸俗的，膚淺的，偽裝的，陳腐的藝術(shù)劃清界限。
畫畫是一種個(gè)人行為，我知道，要在人生中實(shí)現(xiàn)一個(gè)理想和追求，必須付出切實(shí)的努力。對(duì)畫家來(lái)說(shuō)，時(shí)間、眼力、精力、體力、文化修養(yǎng)以及對(duì)世界的瞭解和對(duì)生活的洞悉，加上必經(jīng)幾十年錘煉的技法和功力，這些因素同時(shí)具備的時(shí)間非常短暫，我深知此理，所以能夠甘於寂寞，安於清貧，日復(fù)一日，年復(fù)一年地在畫室內(nèi)外愉快地工作。我知道自己很堅(jiān)韌，這是因?yàn)槲也宦斆?，所以只能加倍努力。我不喜歡跟別人比，只有缺乏自信才要去跟別人比。唯一重要的，是把自己想做的事，盡善盡美地做好。
風(fēng)格就是人格。做人和作畫是一致的。
The Way I See It
>>>Qu Lei Lei<<<
The evolution of my work and art could be broadly visualized as a journey comprising of three stages. Before my twenties, it amounted to a pure interest combined with a fascination for drawing. Only afterwards when my life situation allowed did it evolve in to a career and the lifestyle that I know and love today.
Broadly speaking my work has evolved over a period of three stages. Ultimately the real start was the 1979 Stars movement where I found myself immersed in a comparatively free more open minded creative environment with an abundance contemporary ideas. It was here that for the first time I began to really think and apply concept to where I was going; then 1989 could be surmised as another spark and historical turning point collectively leading to a deeper understanding of what kind of man I wanted to be and what kind of art I wanted to do.
Over the last four decades, broadly every five years; I have concentrated on a series of projects each with a singular vision. In every stage I wanted them in their own way to leave a footprint.
From 1985 to 1989 with my arrival in the UK I produced my English life series. These reflected a basic aim to plant a new root in a new land. These at times slightly comical paintings were simply a reaction to the humdrum chaos of everyday life in London.
From 1989 to 1995 ‘The sun in my dream’series. These sought to reflect and analyze half of a lifetime of experiences and my realizations from this time. They ultimately symbolized the awakening of my real awareness of the political environment that I found myself in.
From 1996 to the present day ‘Facing the future’. This series set out to explore the concept of looking outside myself with an eye to realizing basically what we all have in common with each other as a human race to actually explore what unites us as a species to visualize humanity as a unified whole and understand what links us all along with our ideals and hopes.
2000 to 2005 ‘Everyone’s life is an epic’series. This project set out to research, express and highlight the poignancy of ordinary people’s lives and create ways in to understanding the underlying drama of what we might have initially missed and even considered quite mundane.
2006 to the present day, ‘Brush, Ink, Light, Shadow’. This aesthetic series concentrates on the language of the brush and ink in light of a modern perspective and to merge Eastern and western art elements.
From 2010 onwards, ‘The Empire’series. This sets out to research express and interpret what my analysis is of Chinese history with all its ironies and to examine the questions it throws out at us. How the disasters, pitfalls and tragedies that emerge from history are echoed in the present day.
From 2015 onwards I have been working on a multi media installation project which is as with before is deeply concerned with the value of humanity.
Now looking back on these last 40 years of research and experimentation, there is a thread that unifies all of it. From concept, art form, media and technique; collectively in all the projects there lies a deep concern for peoples real living conditions, a search for a more profound understanding of the value of life, its meaning for living and the freedom and dignity of humanity.
Furthermore with the brush and the ink art works on Xuan paper these comprise explorations on how to deal with light and shadow. From a Chinese Guo Hua perspective, this in actuality significantly breaks with tradition. Although still in essence very Chinese these images set out to embrace the western aesthetic traditions merging East and West as seamlessly as possible. The use of a deep understanding of anatomy I acquired while studying at Beijing medical university earlier on in my life quite fortuitously gave me a thorough working knowledge of how the figure is composed.
People sometimes find my work hard to place in a certain category or ‘ism’. This in actuality is how I like it I don’t particularly want to fall under any specification and neither do I find myself searching for one I hope my work stands freely on its own. Its influences and directions flow with both their time but also come from simply hours in the studio seeing where they lead me .They are neither Eastern or Western they in actuality are both of these standing I hope for themselves without much need for justification.
To me the kind of art that you do reflect what kind of man you are The character of your art and your personality are much the same thing.
曲磊磊
年表
1951 –出生於中國(guó)
1973 –1985 任中國(guó)中央電視臺(tái)美術(shù)設(shè)計(jì)
1979 –與其他藝術(shù)家共同創(chuàng)立了“星星畫會(huì)”
1985 –移居倫敦
1986 –88 在倫敦中央藝術(shù)學(xué)院深造學(xué)習(xí)
1990 –至今 在大英博物館、皇家美院和倫敦蘇富比、佳士得藝術(shù)學(xué)院等教授中國(guó)藝術(shù)
2000 –至今 任英國(guó)中國(guó)畫畫家學(xué)會(huì)主席
現(xiàn)工作和生活於倫敦
重要公共收藏
大英博物館
中國(guó)美術(shù)館
英國(guó)維多利亞與艾爾伯特博物館
阿什莫林博物館
巴克萊銀行
英王儲(chǔ)查爾斯王子
等
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