1.

Q：洪波老师您好，首先祝贺您在洛杉矶的个展获得热烈反响。新系列《波·维踪》中，您首次尝试以丙烯为主要创作媒介。能否向读者分享选择这一材料的特别考量？

A：丙烯颜料的特性与我的创作理念高度契合。它的快干性、可塑性和多媒介兼容性，为我提供了突破传统水墨局限的实验空间。在创作中，我保留了水墨与油彩的积色手法，同时借助丙烯的流动性、覆盖性和可控的干燥速度，创造出更具张力的视觉语言——色层交叠的肌理、半透明的“视觉重影”，以及线条与色块的动态穿插。这种媒介既延续了我过往“积色法”的抽象表达，又以多维度的踪迹叠加，重构出自然形态的运动轨迹，进一步拓展了创作的边界。

2.

Q：本次展览中，您从传统水墨转向新媒介的探索令人耳目一新。这种风格转变背后，您希望向观众传递怎样的艺术思考？

A：新媒介的尝试源于对“当代性”与“跨文化对话”的追求。通过弱化传统水墨的东方符号属性，以更具普世性的材料语言，搭建东西方观众之间的理解桥梁。我希望在作品中实现双重突破：既解构传统的既定框架，又以“去地域化”的形式激活传统精神的当代生命力。这种融合不仅是物质媒介的跨越，更是从地域文化到全球语境的观念跃迁。

3.

Q：您兼具艺术家与策展人的双重身份，近期还与比弗利山庄ACCA团队合作策划国际艺术家联展。您如何评价此次合作？作为策展人，您如何看待其他艺术家的创作？

A：与ACCA团队的合作充满启发性，他们对“跨界艺术”的敏锐洞察令我印象深刻。策展中，我始终关注传统与创新的平衡，而ACCA团队恰好以开放的视角挖掘不同领域艺术家的潜能。对我而言，艺术源于生活，最终也应回归生活。评判作品时，我更看重其内在生命力而非标签——无论是何种媒介或背景，真诚的创作自会与观者产生共鸣。

4.

Q：您始终以挑战自我、突破风格著称。能否透露下一个个展将呈现哪些新方向或实验性探索？

A: 创作本就是一场永不停歇的自我对话。每日面对画布时，我都在主动与被动之间寻找平衡，这种不确定性恰恰是灵感的源泉。未来的展览或许会因场地特性、文化语境的变化催生新的表达形式——可能是材料、技法甚至观念的颠覆。与其说我在“设计惊喜”，不如说我和观众一样，期待作品在未知中自然生长出的可能性。

5.

Q：您如何定义“当代艺术”这一概念？

A：“当代艺术”不应被简单定义。它更像一扇窗，让我们透过此刻的创作望向未来。与其纠结于概念本身，不如以更开放的姿态关注艺术如何回应时代、连接人群，甚至预见尚未成型的文明图景。真正的当代性，或许正藏在“未来”对“当下”的凝视之中。

HONGBO Magazine Interview Q&A - February 10, 2025

1.

Q：Congratulations on the resounding success of your solo exhibition in Los Angeles. In your new series *Wave, Traces of Vibration Series *, you have adopted acrylic as the primary medium for the first time. Could you share your rationale behind selecting this material?

A：The inherent properties of acrylic pigments align profoundly with my creative philosophy. Their rapid drying time, plasticity, and compatibility with mixed media have allowed me to transcend the constraints of traditional ink painting while preserving the layering techniques of ink and oil. By harnessing acrylic’s fluidity, opacity, and controllable drying speed, I have developed a more dynamic visual language—interwoven textures of overlapping chromatic layers, semi-transparent “visual afterimages,” and rhythmic interplay between lines and color blocks. This medium not only extends the abstract expression of my signature *layering method* but also reconstructs the kinetic trajectories of natural forms through multidimensional trace superimposition, thereby expanding the boundaries of my practice.

2.

Q：Your shift from traditional ink to experimental mediums in this exhibition is refreshing. What artistic discourse do you hope to convey through this stylistic transformation?

A：This exploration stems from a pursuit of *contemporaneity* and *cross-cultural dialogue*. By minimizing the Oriental symbolism often associated with traditional ink, I aim to employ a more universal material lexicon to bridge understanding between Eastern and Western audiences. My work seeks a dual breakthrough: deconstructing conventional frameworks while revitalizing the contemporary vitality of traditional ethos through a *de-territorialized* form. This fusion transcends mere material innovation; it represents a conceptual leap from regional culture to a globalized context.

3.

Q：As both an artist and curator, you recently collaborated with the ACCA team in Beverly Hills to co-organize an international group exhibition. How do you evaluate this partnership? As a curator, what criteria guide your assessment of other artists’ works?

A：Collaborating with ACCA has been deeply inspiring, particularly their acute sensitivity to *cross-disciplinary art*. In curatorial practice, I prioritize equilibrium between tradition and innovation—a vision ACCA shares through their openness to unlocking the potential of artists across diverse fields. For me, art originates from life and must ultimately return to it. When evaluating works, I focus on their intrinsic vitality rather than labels. Regardless of medium or background, authentic creations naturally resonate with viewers.

4.

Q：You are renowned for challenging conventions and reinventing your style. Could you hint at the new directions or experimental approaches your next solo exhibition might explore?

A：Creation is an unceasing dialogue with the self. Each day at the canvas, I navigate the tension between intentionality and spontaneity—a fertile uncertainty that fuels inspiration. Future exhibitions may unveil颠覆性 forms shaped by site-specific contexts or shifting cultural paradigms—whether through material innovation, technical subversion, or conceptual reinvention. Rather than “designing surprises,” I anticipate the organic emergence of possibilities, much like the audience, as the works evolve unpredictably.

5.

Q：How would you define the concept of “contemporary art”?

A：“Contemporary art” resists simplistic definitions. It functions as a window through which we gaze into the future via present-day creations. Instead of fixating on semantics, we should adopt an open stance to observe how art responds to its era, connects communities, and even foreshadows nascent cultural paradigms. True contemporaneity may well reside in the “future’s” gaze upon the “present.”