艾米李画廊今日开馆，

万象更新，开工大吉！

AMY LI GALLERY

OPEN TODAY

Everything takes on a completely new look

Wish everyone has a wonderful beginning in 2017

WOLF 王野夫

WOLF Wang Yefu

开 幕 ▏2017年2月17日（周五）15:00-18:00

Opening ▏ Friday, February 17, 2017 15:00-18:00

展 期 ▏2017年2月17日-3月19日

Duration ▏ February 17 – March 19, 2017

2017年2月17日，艾米李画廊新年首展将推出“王野夫”同名个展。

Amy Li Gallery is happy to present the first solo exhibition by Wang Yefu.

地平线那边-自然系列之一 Yonder by the Horizon - Nature Series No.1

地平线那边-自然系列之二 Yonder by the Horizon - Nature Series No.2

王野夫的创作中我们得以窥视到他的抽象思想，对形的苛求、对线条与结构的概括、对画面极简却又精微的控制、对他所推崇的抽象空间层次的精神化表达，简单、直接却最为真实。王野夫将虚构的真实置于艺术创作的动情点；他以表达形而上的精神空间为艺术标准的推崇点。他摒弃标准透视法则，用有意味的形式与主观审美完成画面精神化语言描述。

Wang Ye fu's creation allows us to look into his abstract conceptions, his rigorous exigence for form, his generalization of lines and structures, his minimalist but subtle control of the image, his spiritualized expression of the abstract space he appreciates the most, which is simple, straightforward but also authentic in the extreme. Wang Ye Fu put the fictitious realism at the sentimental fulcrum of the artistic creation; he considers the metaphysical spiritual space as the highest expression art standard. He no longer applies the perspective law to his paintings, but accomplishes the spiritual discursive depiction with meaningful forms and subjective aesthetics instead.

地平线那边-自然系列之三 Yonder by the Horizon - Nature Series No.3

他的抽象建立在非再现性限定基础之上；形式、媒介、空间、色域、线条、光线等合力完成了他抽象语言的输出，他将正负概念统一于同一绘画空间的同时，也是将对比最为鲜明与有趣的矛盾表面化。王野夫将创作工具单一化，水溶性石墨铅笔与早期所运用的建筑绘图笔成为他的固定选择，黑白灰也充斥着整个画面的形式空间中；王野夫的铅笔可以让画面在不同角度呈现出铅性的不同特征、 线条、 色彩与亮度，相比起画面的构成他更加关注其中的隐蔽性和不确定性，俯仰之间铅性的婆娑与单一工具的强大张力和视觉震撼力展露无疑。

His abstraction is built upon the basis of non-representation. The form, media, space, color gamut, lines, lights and other forces together complete the output of his abstract language. The unified representation of the positive and the negative concepts in the same pictorial space is also the phenomenal representation of the most vivid contratsts. Wang Ye Fu creates with fixed choice of tools, which are the water-soluble graphite pencil and the drawing pen for architectural design, so that the colors of black, white and grey are also the regular organic components of the formal space of the painting. Wang Ye Fu’s sketch techniques can bring out the different characteristics of lines, color and brightness at different angles in one painting, so that the visual power brought out by the unique painting tool and by the graphic tint can be perfectly enhanced.

1988年4月4日《中国美术报》第141期

1987年12月《江苏画刊》

王野夫的艺术创作经历了三个时期，第一时期是毕业创作时期，他本身是设计系学生，因有感于三天三夜回家的旅程进而创作出了《地平线那边——自然·人·宗教》这幅具有鲜明个人化图式精神的作品，确立了他艺术未来的创作方向，并成为当年西安美院唯一一位毕业创作登上《中国美术报》与《江苏画刊》的学生；第二个时期是追求设计感绘画时期，将近十年的时间，王野夫在他的创作中会故意营造一些设计感的氛围，精准、透视、理性、结构感强，甚至连勾勒都颇具节奏感。

The evolution of Wang Ye Fu's artistic creation has gone through three periods. The first period is after the graduation, he himself studied design. Since he has experienced the journey heading back home which took him three days and three nights, he created a work named “On the other side of the horizon - Nature. People · Religion” which has a highly distinctive personal style and has established the future orientation of his artistic creation. Then he became the only student of Xi'an Academy of Fine Arts who had his graduation project being published in the China Art News and Jiangsu Illustrated Periodical. The second period has taken place for nearly 10 years during his pursuit of painting with strong design sense; Wang Ye Fu introduced in his paintings some deliberately induced atmosphere, full of the sense of design, characterized with precision, perspective, rationality and claims for structure, even the simple lines are rhythmic.

C-W-1 纸本石墨铅笔 Graphite pencil on paper200×300cm 2016

C-W-2 纸本石墨铅笔 Graphite pencil on paper 150×300cm 2016

第三个时期也就是当下对于个体精神空间的探索时期，这一时期的作品转变了设计感的制式思维，更为追随艺术家意识流的精神世界，自发、内省、突破程式与图式，也更为完本的抒发个人对于虚构精神世界的着力追随，平静、简洁却更深刻；此次展览也是对这一时期作品的全面展示。

The third period shows his current exploration for the individual spiritual space, the works of this period abandoned the design sense in the paintings and started to inquire the spiritual world generated from the artist's consciousness, in other words spontaneity, introspection, innovation in standards and images. His aspiration for the unreal world of spirit has been formulated in a much more ideal way, silent, simple but profound; this exhibition is about to provide a comprehensive way to understand the works of this last period.