康蕾老师

康蕾老师赠送工作室画册

今天我们很荣幸邀请到康蕾老师将名家工作室落地到勐景来景区。

Today, we are honored to invite Ms. Kang Lei to land the famous studio in Mengjinglai Scenic Area.

康蕾老师擅长将⻄方传统坦培拉技巧结合中国绘画传统，运用到对自然与社会的观察和隐喻的描述当中，在通感状态下描绘形象的感性特征，表达对时间与距离的思考。

Ms. Kang Lei, through a skilful combination of western traditional tempera with Chinese traditional painting techniques, carries out in her works an observation and a metaphorical description of nature and society, while exploring the notions of time and distance.

康蕾老师工作室分享

康蕾：我喜欢下乡写生和考察，漫山遍野，田舍人家撒开了自由画画.到研究生时，前后长达半年时间到大西北考察，宁夏、内蒙、陕西、甘肃、青海、新新疆等地“深入生活”，对更广阔的社会和地域文化观察，了解，画了大量写生。

I used to go to the countryside to look at the natural landscape, admiring hills and plains, farmyards and people scattered all around: I would then freely paint. During my postgraduate studies, for half a year I went to visit places located in the North-West of China, including Ningxia, Inner Mongolia, Shaanxi, Gansu, Qinghai, Xinjiang. During these trips, I had the chance to delve into real life, strengthening my appreciation and my understanding of society and local culture, while focusing on painting from nature .

康蕾老师作品

《乐园.存在的喧嚣》丙烯200×140cm2022-2025年

康蕾：在洛杉矶仙人掌公园，我第一次集中看到姿态各异的仙人掌；在中国驻阿根廷使馆我曾不小心触碰院中仙人掌，摸了一手细绒毛刺，使馆工作人员教我用胶带粘净；在智利去大山中拜访当地艺术家，看到漫山遍野、一丛一簇高高低低的巨型仙人掌……At the cactus park in Los Angeles, for the first time, I saw cactuses with different structures and postures. Once, at the Argentinian Embassy in Beijing, I accidentally touched a cactus in the courtyard of the Embassy: I touched the point where I came into contact with the cactus with my hand and I felt the very thin thorns. An embassy operator suggested me to stick it with tape. In Chile, when I visited local artists in the mountain, I saw cactuses of different sizes all over the mountains and plains.

《乐园2016，刺痛》坦培拉200×560cm2016年

康蕾：我用的是水性坦培拉，也就是鸡蛋坦培拉。坦培拉这种媒介融合了我使用油画的经验与对中国传统绘画的审美喜好，也突破了对传统与当代的执拗与藩篱，起到了连通作用。在使用的时候，我体会坦培拉柔和温润的质地和不断重叠的丰富层次：坦培拉材料不同于直接画法一蹴而就的清冽痛快感，质地更像品茶有回甘，坦培拉作品耐看，反光也不像油画那样直接，而是更润。

I use water tempera and egg tempera. Tempera as an artistic medium, enables me to combine my painting experience and my fascination for the aesthetic of Chinese traditional painting. At the same time, it also functions as a link to blur the barriers between tradition and contemporaneity. Using tempera also gives me the opportunity to fully grasp the softness of this medium and its property to be applied in layers. Conversely to the technique of painting directly on the canvas with oil colours which gives an immediate and instantaneous feeling, tempera is applied through a slow process and its texture is characterized by a sweet aftertaste, like tea. When looking at a tempera painting, the reflection is not direct as in the case of oil painting: on the contrary, it is glossy.

《乐园2016，生长》坦培拉200×560cm，2016年

康蕾：《乐园2021·世界》作品中圆形空间的“凭空出现”是想在画面场景里加入另外的空间，它与画面平行，却同时透视另一个世界、时空。画面在同一时间里提供许多线索，各种事情同时发生，意识也是多维的，并非单一的存在。画面透视到的其它空间不一定是具体的，也可以是思维层面上的意识空间，可以有关联，也或者毫不相干。这件作品还没有完成，将会有很多圆形作品呼应主画面，是为空间的延展。In Paradise - World 2021 the round suspended space is conceived to be integrated with another space on the pictorial surface, which is parallel to the painting while also projecting another time-space dimension. On the painterly surface, many different lines appear within the same time frame: everything happens at the same time, awareness is also multi-dimensional and simultaneous, and it does not exist as a single entity. The other spaces that can be seen on the painting are not necessarily concrete: they might refer to the realm of consciousness and to a mental dimension, which can be connected or not to the other spaces. This work is not completed. In the future there will be many circular works which echo the main painting, and which represent an extension of the space.

康蕾：仙人掌布满刺，防御性的外表下却有柔软的内在，这样的造型和特性吸引了我。在干旱地区生长的仙人掌，是继向日葵之后又带给我绘画感觉和触动的植物，之前见到表现仙人掌的人很少。它的刺以及被针刺的痛感可以隐喻地表达生活中的一些体会。

Cactuses are full of thorns; behind their defensive appearance they are characterized by an inner softness: their shapes and their unique properties attracted me. Growing in a dry environment, cactuses, after sunflowers, inspire me good feelings and touching emotions for painting; moreover, there are not many people who engaged in the representation of cactuses. Theirs thorns and the pain caused by them can metaphorically express our existential experience.

康蕾：艺术表达的方式没有好坏之分，只不过是个人选择的不同。在艺术作品中我喜欢“借景而非直陈”的表达，更愿意用隐喻的方式来体现对事物的看法。

There is no good or bad way to carry our artistic expression, it’s just a matter of different choices. I my work, I like to have a creative approach based on “using the objects to express rather than directly speak out”. I prefer to use metaphorical expressions to represent my vision about certain things.

康蕾：创作者是敏感的，积累的同时跳出“惯性”观察自己和生活也同样重要。

Creative people are sensitive: to be able to avoid inertia and to observe the self and the individual life is as important as accumulating experiences and knowledge.

《你站在桥上看风景》 70×200cm 布面丙烯 2024年

康蕾：画画早已超越了专业需求，融入平常中，成为自己的生活方式。喜欢听着音乐画画，或者就在工作室整理资料、酝酿画画情绪。 生活琐碎没有杂事时，神闲意定地画画是最好的创作状态 。

I think that painting, for a long time, has been beyond the working dimension: it was integrated into my life becoming my way of living. I like to paint while listening to music or to spend time reorganizing the material in my studio to prepare my painting mood. When life is trivial and there are no chores to take care of, painting is the best creative state.

康蕾

艺术家，美术学博士，中央美术学院教授，博士生导师，任教于油画系第二工作室。中国女画家协会协会副会长兼秘书长，中国美术家协会会员，中国油画学会会员 ，北京当代中国写意油画研究院第二届研究员。

作品曾于中国美术馆、中央美术学院美术馆、今日美术馆、加拿大UBC亚洲中心、巴黎大皇宫、韩国光州市立美术馆、德国柏林中国文化中心、智利圣地亚哥沙赫特宫、西班牙巴塞罗那M.E.A.M 现代艺术博物馆、基辅乌克兰宫、纽约艺术学院、俄罗斯列宾美院美术馆、巴拿马运河博物馆、巴拿马当代艺术馆、俄罗斯中央美术馆、哥斯达黎加国家画廊，西班牙中国文化中心，以及丹麦菲特烈堡、白俄罗斯明斯克、澳大利亚悉尼、秘鲁利马、新加坡等海内外重要艺术机构展出；参展过第三届、第四届中国油画展，第四届全国青年美展，第十二届全国美展，第四届北京国际艺术双年展，第14届达喀尔非洲当代艺术双年展、第十四届巴西库里蒂巴双年展、ARTFEM第二届国际女艺术家双年展等展览、作品被文化部、中国美术馆、中央美术学院美术馆、中国国家大剧院、时代美术馆、嘉德艺术中心、东亿美术馆、AISA基金会、荣宝斋等艺术机构收藏。

Artist, doctor of fine arts, professor of Central Academy of Fine Arts, doctoral supervisor, teaching in the second studio of oil painting department. Vice President and Secretary General of China Women Painters Association, member of China Artists Association, member of China Oil Painting Society, and the second researcher of Beijing Contemporary China Freehand Painting Research Institute.

Her works have been exhibited in China Art Museum, Central Academy of Fine Arts Art Museum, Today Art Museum, Canadian UBC Asia Center, Grand Palace in Paris, Gwangju Art Museum in Korea, China Cultural Center in Berlin, schacht Palace in Santiago, Chile, M.E.A.M Museum of Modern Art in Barcelona, Ukraine Palace in Kiev, new york Art Institute, Russian Repin Academy of Fine Arts, Panama Canal Museum, Panama Museum of Contemporary Art, Russian Central Art Museum, National Gallery of Costa Rica, China Cultural Center of Spain, and important art institutions at home and abroad such as Fiedleburg, Minsk, Sydney, Peru, Lima and Singapore; He has participated in the 3rd and 4th China Oil Painting Exhibition, the 4th National Youth Art Exhibition, the 12th National Art Exhibition, the 4th Beijing International Art Biennale, the 14th Dakar African Contemporary Art Biennale, the 14th Curitiba Biennale in Brazil, and the 2nd ARTFEM National Exhibition.

​《无相》坦培拉160×300cm，2016年

我会用自己的方式对现实生活进行提取、转化，然后重构一个精神的世界出来，这个世界是熟悉的，也是陌生的，是私密的，也是开放的。

——康蕾