新年伊始，EGG画廊将继续以冷静、沉着、诗意、灵修的定位，展示5位合作艺术家一路走来对当代艺术多重性的探讨与实践。                        

        他们的共性在于：源于传统的技艺与审美观念，打破或重构新的画面和审美标准，他们甚至无视作品的维度。

        这次展览的作品横跨10余年，在某种意义上，它们让我们回顾艺术家们的成长历程，同时也让我们窥见当代艺术的发展在艺术家身上留下的烙印。

EGG Gallery is proud to announce that it will present the group exhibition "Install" by artists Zhu Lan, Cao Xiaodong, Yu Yang, Jin Jinghua, and Pamela See from the 11th of January to the 23rd of February, 2020.

At the beginning of the new year, EGG Gallery will continue to display a calm, composed, poetic and spiritual orientation, showing the five collaborating artist’s journeys to explore and practice the multiplicity of Contemporary Art.

Their commonality lies in the fact that they originate from traditional techniques and aesthetic concepts, break or reconstruct pictures and aesthetic standards, and they even ignore the dimensions of artwork.

The works in this exhibition span more than 10 years. In a sense, they allow us to review the growth of the artists, and at the same time also allows us to see the imprint left on the artists by the development of contemporary art.

朱岚 Zhu Lan

骨密度 Bone Mineral Density，水墨 Chinese Ink, 138x207cm,  2016

        朱岚的作品中有一种音乐性，一种对当下内心即时性情感的纯粹表达，这让人联想到瓦西里·康定斯基将艺术与音乐并置，在他的画面中对于抽象几何形体浪漫的节奏性表达。

       “形”是朱岚用于表达内心感动，精神性与理性的载体，在她的作品中，一点一线一墨的视觉化表达是她之前所学的笔墨的延伸以及时间沉淀后的结果，每一幅作品都是她在某一阶段对于艺术的体会。

Musicality is behind Zhu Lan’s ink paintings, which reveals an instant and pure expression of her inner situation. To some extent, Zhu Lan’s paintings are reminiscent of Vasily Kandinsky’s juxtaposition of art and music – the rhythmic expression of the abstract geometric form in his paintings. 

The form is the carrier for Zhu Lan to express her inner feelings, spiritualities and rational thoughts. In her works, the visual expression of either a tiny ink spot or a simple brush line is based on the extension of her previous ink painting learning and the result of her life experience precipitation. Each piece of work showcases her experience at a particular stage.

 曹小东 Cao Xiaodong

 水墨1号 Chinese Ink No.1, 布面水墨, Chinese Ink on Canvas, 200×200cm, 2006

  曹小冬从九十年代初开始了他的“点”系列，这是一个实验绘画，他用腊点灼烧画布，产生了一排排矩阵形的点状图像。他的这个绘画实验实际上并非一种真正意义的抽象绘画，他更多的是在追问这样一个基本问题：绘画是什么？

  在某种意义上，曹小冬的这个实验具有一种反绘画的方式：不使用颜料，也没有形象的造型，排除笔触和肌理。这使得画面变成一种绘画行为残存在画布上的痕迹，绘画不再是一种对于形象和图像的模仿和再现，它只是一种踪迹或者遗留的物理结果。

Cao Xiaodong started his "dot" series in the early 1990s. This was an experimental painting, where he burned the canvas with a wax candle to produce rows of dots in the shape of a matrix. This experimental painting technically isn’t abstract, he was rather exploring the fundamental question: What is painting?

In a sense, Cao Xiaodong's experiment was an anti-painting method: no paint, no image modeling, brush strokes and texture were excluded. This results in the picture becoming a trace left on the canvas through the behavior of painting. Painting is no longer an imitation and reproduction of forms and images, it is just a mark or a physical result left over.

于洋 Yu Yang

水墨物语No.7，No.7 Shui Mo Wu Yu, 纸本水墨平时创作废弃物, Left Over Materials, 180x235cm, 2014

        于洋用平时创作产生的边角料与水墨笔触精心配合，以罕见的冷静来反思水墨秩序打破后的可能效果，思考自然秩序与人为秩序在可塑性上的关系，重新安排空间与平面的关系，他们的组合展出充分发挥了墨感与色感在偶发随意组合与严格几何秩序性之间自由表达的张力。

The use of scraps is a common practice for Yu Yang, this corporates and merges with his ink strokes and reflects his interest in the possibilities of collapsing the order of painting, considering the flexible correlation between natural order and artificial order. Rearranging the relationship between space and evenness by the rate of calmness. The combination of various elements fully demonstrates the free expression of ink and color in random allocation as well as strict geometric order.

金京华 Jin Jinghua

一组山石构图 No.2 A composition of mountain rocks No.2, 宣纸,墨,矿物颜料 Rice Paper, Ink, Mineral pigments，84x113cm,125x86cm,120x80cm, 2015

        错落有致的木桩起伏排列，顶端经过切割并加以青绿设色。艺术家所搭建的意象呼应了中国传统艺术中的山水图像，景色流变的趋势由停滞的残留物构成：所有木质结构均取材自被拆迁老建筑的房梁…与断梁共生的艺术带来判断上的迟疑：这究竟是后人对被拆迁地的悼念，还是本身就蕴含在被拆迁地的美学性质？确定的是，近年来城市化的扩张将自然景观与传统景观破坏，心灵的山水与现实的残垣化一。

Patchwork of stakes with trimmed leaves to enhance the greenery. The artist's image echoes in the landscape of traditional Chinese art. The landscape rheology consists of stagnant residues: all the wooden structures are drawn from the demolition of the old building ... Judging on hesitation: whether this is about the aftermath of a demolition by grief, or is it itself part of the natural aesthetic act of demolishing. What is certain is that the expansion of urbanization in the recent years will destroy the natural and traditional landscape. The landscape of the soul and the remnants of the reality come into conjunction.

薛美龄 Palema See

条纹连衣裙 Striped Dress, Bronze, 87x70cm 

        薛美龄，澳洲华人女艺术家，生活和创作在墨尔本，却时刻学习和关注中国的历史、文化和当今发生的点点滴滴。她巧妙地把传统剪纸工艺当代化，用激光切割代替手工剪艺，用不锈钢代替纸张，从而将二维的剪纸变成立体的雕塑。她的纺织服装流水线系列和天堂之门系列，力图透过表面的中国经济标志和历代王朝的统治符号来揭示或寓意中国当今最令人关注的物质和环境的双重生态污染。

Pamela See is an overseas Chinese female artist hailing from Australia. She currently resides and makes art in her home of Melbourne. She has been studying and closely observing the history, culture and everyday dribs and drabs of China. She has cleverly managed to modernize the traditional craft of Chinese paper cutting. Replacing manual cutting skills with laser cutting and paper with stainless steel, two-dimensional Chinese paper creations are transformed into vivid, three-dimensional sculptures. The artist aims to puncture the superficial marks of China's economy as well as the symbols of domination prevalent throughout the various Chinese dynasties, through her depictionsof textile assembly lines and the gates of Heaven. In doing so, she implicitly reveals the dual ecological pollution inflicted on material life and the environment, a major concern of present-day China.

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