我们荣幸宣布2023年5月20日艺术家薛广陈个展”微观“将在妙有艺术隆重开幕。

　　We are pleased to announce that the solo exhibition “microscopic” by artist Xue Guangchen will open at MOUart Gallery on May 20， 2023.

微观

Microscopic

艺 术 家 ｜ 薛 广 陈

A r t i s t ｜ Xue Guangchen

开 幕 时 间  ｜ O p e n i n g

2 0 2 3 . 0 5 . 2 7   4 ： 0 0  P M

展 览 时 间 ｜ D u r a t i o n

2 0 2 3 . 0 5 . 2 0 - 06 . 2 0

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　　观看广陈的作品 需要绕过技术的迷雾，需要您不被刻画的物相所干扰而持有任何偏见；您要试着沉静下来 看他在一块微石里怎样布局山水，又要有童趣和天真之眼看一块石头变成了一个奇异的可爱的怪兽，奇异精灵里有天地山水，有文人志趣，山水又组合成就一个玲珑精灵或者怪兽…如此刻意寻微小之物，又现天地之大 ，严肃之际又进可爱稚趣…

　　看他寻常的景物与花果 如果你只看到技术的精湛且止于此 ，那我觉得可能我们还真的有点自我和不认真了，您仔细看那蜜蜂展开双翅奔向花卉果蔬，您也用您的天真之耳听见羽翼振动，甚至蜜蜂自己看到美食的忍抑不住的欢快笑声；如果按照这样的路径 您再看看广陈的螳螂 蝴蝶，您会有同样的忍俊不禁..

　　广陈作品在妙有艺术的“微观”个展之前 已经有很多前辈师友对他作品的从不同角度发表了诸多不一样的观察结果。个人觉得让人尊重的艺术家无论是什么工作路径，也不用介意你要发现和解决什么问题，如果你用了真心 也并且有能力把你的真心意通过画面让观者知晓 、会意已是让人敬重；但是同理也需要我们观者有一颗不带经验偏见的天真之眼来意会广陈的微观山水氤氲无际，以此来体味虚实 有无 的中国山水观；也可以意会到花果的生命状态与飞禽生灵之间的能量同频的和谐共生的美妙境地。

　　期待广陈的“微观”

　　Watching Guangchen‘s works requires bypassing the fog of technology， and you need to not be disturbed by the depicted objects and hold any bias； You should try to calm down and watch him layout the landscape in a small stone， while also having a childlike and innocent eye. A stone has turned into a strange and lovely monster， and there are mountains and rivers in the strange spirit， literati’s interests， and the combination of mountains and rivers creates a delicate elf or monster... So deliberately searching for small things， revealing the size of heaven and earth， and entering a cute and childlike atmosphere when serious.

　　Looking at his ordinary scenery and flowers and fruits， if you only see the exquisite technology and stop here， then I think we may be a bit self centered and not serious. You carefully look at the bee spreading its wings and running towards flowers and fruits and vegetables， and you also use your innocent ears to hear the vibration of wings， and even the bees themselves can‘t help but laugh happily when they see the delicious food； If you follow this path and take a look at the praying mantis butterfly in Guangchen， you will have the same unbearable laughter.

　　Before the “micro” solo exhibition of Miaoyou Art， many senior teachers and friends had already published many different observations on his works from different perspectives. Personally， an artist who is respected， regardless of their work path， doesn’t mind what problems you need to discover and solve. If you use your sincerity and have the ability to convey your sincerity through the screen to the audience， it is already admirable； However， in the same way， we also need our viewers to have an innocent eye without experience bias to understand the vast and intricate micro landscape， in order to appreciate the Chinese landscape view of reality and emptiness； You can also appreciate the wonderful situation of harmonious coexistence between the life state of flowers and fruits and the energy of birds and creatures in the same frequency.

　　Looking forward to Guangchen‘s “micro” perspective.

　　- 习却 Xi Que

壁立千仞NO2 布面油画 | Oil on canvas30x30cm ， 2021

　　自谢灵运开创出山水诗起，独立的山水欣赏，便开始成为中国文人审美世界里的重要内容。寻求内心的自在成为唯一的目的。南朝画家宗炳性好山水，却因疾病而无法前往，便叹曰：“老疾俱至，名山恐难遍游，当澄怀观道，卧以游之”。宗炳观壁上图画以“卧游”。而后世文人更是将此道扩展至案头供石，院中叠石，纸上生壑。内心的需求与现实的无奈都掩饰不住文人之山水情怀。此次“微观”展是继二零一五年中国美术馆薛广陈“中国式风景”油画个人作品展之后的又一个人作品展。继续以微观的视角揭示个人的观看之道，山水情怀。

　　英国诗人威廉？布莱克(WilliamBlake)的作品《天真之歌》里的诗句“一沙一世界，一花一天堂，双手握无限，刹那即永恒”。山水情怀真的是一块供石、几块叠石、一卷山水画能给予的吗？恐怕这些只是外在的形式而已，真正的情怀还是根植于内心的文人精神。佛语“相由心生，境随心转。

　　当我们心中有山水，谦恭微观，处处皆是水云间。寻常物什蕴山水之道。同理，蔬果，花卉又何尝不是和你我一样的万物生灵呢？艺术可以是视觉的饕餮，也可以是心灵的故乡。通常对于画展我们会讲”看画展“，满足于视觉的享受，然，古人却曰：“品画卷”。享受于心灵的慰籍。一“看”一“品”两种心景。愿此次“微观”能带给观者“看”的愉悦；“品”的滋味！

　　Since Xie Lingyun created landscape poetry， independent landscape appreciation has become an important content in the aesthetic world of Chinese literati. Seeking inner freedom becomes the only goal. Southern Dynasty painter Zong Bing was fond of mountains and rivers， but due to illness， he was unable to travel. He sighed and said， “Old and sick come together， and it is difficult to travel to famous mountains. When you are in the state of Chenghuai， observe the Tao， and lie down to travel. The painting on the wall of Zong Bingguan is titled “Sleeping Tour”. Later literati extended this path to offering stones on desks， stacking stones in courtyards， and creating grooves on paper. The inner needs and the helplessness of reality cannot conceal the literati’s landscape emotions. This “Micro” exhibition is another solo work exhibition following the 2015 “Chinese Style Landscape” oil painting solo exhibition by Xue Guangchen at the China Art Museum. Continue to reveal personal ways of viewing and landscape emotions from a micro perspective.

　　The poem in the work “Song of Innocence” by British poet William Blake reads： “A world in a sand， a heaven in a flower， infinite in both hands， eternal in an instant. Is landscape sentiment truly something that can be given by a single offering stone， a few stacked stones， or a scroll of landscape painting？ I‘m afraid these are just external forms， and the true emotions are still rooted in the literati spirit inside. The Buddhist saying goes， ’The phase arises from the heart， and the state changes with the heart.‘.

　　When we have mountains and rivers in our hearts， humble and humble， everywhere is between water and clouds. Ordinary things contain the path of mountains and rivers. Similarly， are vegetables， fruits， and flowers all creatures like you and me？ Art can be a visual feast， or it can be the hometown of the soul. Usually， for art exhibitions， we talk about “watching art exhibitions” and satisfy ourselves with visual enjoyment. However， the ancients said， “tasting art scrolls”. Enjoy the comfort of the soul. There are two types of mental landscapes： “seeing” and “tasting”. May this’ micro ‘bring the pleasure of seeing to the audience； The taste of ’product‘！

- 薛广陈 Xue Guangchen

国风· 太古 布面油画 | Oil on canvas 34x25cm ， 2020

　　薛广陈的作品虽然高度写实，与上个世纪90年代成名的石冲、冷军、常青等在写实技术上不分伯仲，但他的审美取向其实与前述写实画家有很大的差异，他所关注的，其实是形象的变异与陌生化。例如《俯瞰微揽》系列作品中所描绘的砖、面包和火腿等现实物品，其实并非简单地再现，而是通过高度写实与高度抽象的结合，完成观众视觉意象的心理转换。这种抽象不是将形象抽离或隐去，而是将形象截取并置于单一的背景色中，使高度清晰而具真实立体感的“工具”与“静物”，处在一个抽象色彩的平面中。在物体的上下边缘，不存在光影，它不在常见的桌面上，更像是处在一个抽象的空间中。画家试图通过视觉心理学的“完型理论”，使图像在人的视觉中产生误读，从而转换为另一种形象。为了这样一种思路，画家可以将砖块的下半部分以“晕化”方式表达出“岫出浓雾”的渐进过渡，从而增加了形象“横空出世”的突兀感，进而与现实生活中所见的物体拉开了距离。总之，“看山不是山”、“所见非所物”，艺术家与我们进行一场视觉的智力游戏，挑战我们对个人视觉判断能力的自信，让我们在惊诧之后获得一种惊奇。

　　Although Xue Guangchen’s works are highly realistic， which is equal to Shi Chong， Leng Jun， Chang Qing and others who became famous in the 1990s in terms of realism technology， his aesthetic orientation is actually quite different from the aforementioned realistic painters. What he focuses on is actually the variation and defamiliarization of the image. For example， the realistic objects such as bricks， bread， and ham depicted in the “Overlooking the Micro View” series are not simply reproduced， but rather through a combination of high realism and high abstraction， the psychological transformation of the audience‘s visual imagery is completed. This abstraction is not about extracting or hiding images， but rather capturing them and placing them in a single background color， so that the highly clear and realistic “tools” and “still life” are placed on a plane of abstract colors. At the upper and lower edges of the object， there is no light or shadow. It is not on a common desktop， but rather in an abstract space. The painter attempts to use the “gestalt theory” of visual psychology to make images misread in human vision and transform them into another image. In order to adopt this approach， painters can express the gradual transition of the lower part of the brick in a “halo” manner， which increases the abrupt sense of the image “emerging from the sky”， and thus distance it from objects seen in real life. In short， ’seeing mountains is not mountains‘ and’ seeing is not what we see ‘， artists engage in a visual intelligence game with us， challenging our confidence in personal visual judgment ability， and allowing us to gain a sense of surprise after being surprised.

- 殷双喜 Yin Shuangxi

　　承载花果的物件，最为用心，也是薛广陈静物作品的一大特色。花果之下，或是破碎的砖块，或是生锈的钢铁，或是历经岁月的木头、废弃的纸板……它们与花果的物性和质感截然相反，在画面中形成极富张力的对比：坚硬与柔软的对比，斑驳与光滑的对比，无生命个体与有生命个体的对比，黯淡与光泽的对比。这般特立独行的“绿叶”，强烈地烘托出花果的饱满和美好，盛夏万物生长的气息、金秋丰收的滋味隐隐破空而来。同时，这种主观过滤后的事物组合和极简的空间安排，使得熟悉的事物陌生化，也使画面获得一种坚实的内在结构的力量，形成奇妙的视觉感受。这一点，与薛广陈的微观山水作品是一脉相承的。

　　The object that carries flowers and fruits is the most attentive and also a major feature of Xue Guangchen’s still life works. Under the flowers and fruits， there are either broken bricks， rusty steel， aged wood， discarded cardboard... They are completely opposite to the physical properties and texture of the flowers and fruits， creating a highly tensile contrast in the picture： the contrast between hard and soft， the contrast between mottled and smooth， the contrast between inanimate and living individuals， the contrast between dim and shiny. This unique “green leaf” strongly highlights the fullness and beauty of flowers and fruits， and the scent of summer and autumn‘s bountiful harvest looms through the air. At the same time， this subjectively filtered combination of things and the minimalist spatial arrangement make familiar things defamiliarization， and also make the picture obtain a solid internal structural strength， forming a wonderful visual experience. This is in line with Xue Guangchen’s micro landscape works.

- 柯茵 Ke Yin

　　相对于国画，油画家本身出品就不快，而广陈的画法则更慢。这也在一定程度上决定了我们对他进行评价时，尽量保持低调--如同议论孕妇肚里是男是女，或是围观正在孵蛋的母鸡，往往事倍功半。既然，他几乎每一件作品都能带给我们极大的视觉满足感，就足可证明他绘画的诚意与能力。他已经看破和需要他看破的东西都很多，但此刻是他最好的年华，我唯一想对广陈说的是：请先留下精致的快意吧。

　　Compared with traditional Chinese painting， oil painter themselves are not quick to produce， and the widely used painting rules are slower. This also determines to some extent that when evaluating him， we should try to keep a low profile - just like discussing whether a pregnant woman has a male or female belly， or watching a hen hatching eggs， we usually get twice the result. Since almost every piece of his work can bring us great visual satisfaction， it is sufficient to prove his sincerity and ability in painting. He has seen through and needs to see through many things， but this is his best time. The only thing I want to say to Guang Chen is： please leave behind exquisite pleasure first.

- 王源 Wang Yuan

　　超写实与超现实，西方艺术史之中两种相去甚远的取向，在此被薛广陈糅合到个人的微观图 像生产里，如果说前者是语言及形式的技术性假借，后者则是意识变迁之后的再结构化。绘画作为表象，超写实则开始成为了表象的表象，如同一层物质的帷幔，隐现着对于古老笔触、文本及审美传统的追思。在最初的这个阶段，物哀只是他个人记忆的具体表征，还没有牵涉更为广大的移情，进入到这个阶段之后，物象的语义也就改变，它成为自我腾空的壳，意欲呼唤和承载亦真亦幻的“道”。

　　Surrealism and surrealism， two vastly different orientations in Western art history， have been integrated into personal micro image production by Xue Guangchen. If the former is a technical borrowing of language and form， the latter is a re structuring after a change in consciousness. Painting， as a representation， began to become the representation of the representation， like a layer of material curtain， faintly reflecting on ancient brushstrokes， texts， and aesthetic traditions. In the initial stage， material sorrow was only a concrete representation of his personal memory， without involving a broader sense of empathy. After entering this stage， the semantics of the object also changed， becoming a shell of self emptiness， intending to call and carry the true and illusory “Tao”.

- 朱朱 Zhu Zhu

​凝润 布面油画 | Oil on canvas 20x60cm ， 2021

　　如今世界文化的多元也给我们的艺术家提供了一个多层次的发展和变化机遇，但薛广陈并没有去“寻膻逐臭”，也无“如圊虫逢秽欣然一饱”，而是全身心的追求着一种中国古代文人“泊然天地初，道心安有染”的不染境界。寂寥大地谁堪共语！

　　Nowadays， the diversity of world culture also provides our artists with multi-level opportunities for development and change. However， Xue Guangchen did not “seek the smell of the smell” or “satisfy oneself with pleasure when encountering filth”. Instead， he wholeheartedly pursued a state of immaturity that ancient Chinese literati believed was “wandering in the beginning of heaven and earth， with a peaceful and infectious heart”. Who can speak in the lonely earth！

　　- 张子康 Zhang Zikang

　　在薛广陈的作品中我们能够感受到流动的时间在这里凝固，他用画笔为我们撕开了通往内心的一条缝隙，这是一个平静的世界，画面中简单的形象被人格化，他像一面镜子，将人对于物质、文化的思考和对平常物品的使用痕迹反射并放大，通过这些简单的形象，我们可以反观自己对待周围世界的态度，也可以看到我们的思考和行动的结果被这些移动过或被改变的平常事物，触动自我存在的些许事物片段。看薛广陈的这些作品，犹如一道静谧的光洒下来，当把其中所有细节看清以后，也就看到了我们自己。

　　In Xue Guangchen‘s works， we can feel the solidification of flowing time here. He uses his paintbrush to tear open a gap to our hearts， which is a peaceful world. The simple images in the picture are personified， like a mirror， reflecting and amplifying people’s thoughts on material and cultural aspects and the use of ordinary objects. Through these simple images， we can reflect on our attitude towards the world around us， We can also see that the results of our thinking and actions are moved or changed by these ordinary things， touching some fragments of our own existence. Looking at Xue Guangchen‘s works， it’s like a quiet light shining down. After seeing all the details， we can also see ourselves.

　　- 劳丁 Lao Ding

　　艺术家薛广陈，1973年生于河南，毕业于中央美术学院油画系，河南大学艺术专业硕士研究生导师，焦作油画艺术研究院院长。

　　Xue Guangchen，Born in Henan in 1973，Graduated from the Oil Painting Department of the Central Academy of Fine Arts，Master‘s Supervisor of Art at Henan University，Dean of Jiaozuo Oil Painting Art Research Institute.