“我都是喜欢用树脂做媒介,虽然用的人工树脂,但是树脂最初是植物起保护作用而分泌的天然的东西,所以我觉得树脂特别像我。”   ——陈雁君

 

“I always like to use epoxy/resin as a medium to make art practice. Even though I use artificial epoxy, the resin was originally from a natural substance secreted by plants for protection purpose, so I think the resin is very similar to me in a way”-------Yanjun Chen

 

和同时代的年轻艺术家相比,很少有人像她一样能在“日常事物中找到安静的美丽”,正如英国女性艺术家Rachel Whiteread作品所带来的审美体验。雁君确实在创作初期从Rachel Whiteread 对空间和材质使用中获得了灵感,最终和自己的创作结合形成了独特的雕塑语言。

 

Compared with young artist at the contemporary, rarely people can find “beauty of silence in everyday objects" as she does, it just like the aesthetic experience brought by the works of British female artist Rachel Whiteread. Yanjun did get inspiration from Rachel Whiteread's use of space and materials in the early stage of her creation, and finally combined with his own understanding and creation to form a unique sculpture language.

 

几何构图,吹散的蒲公英,枯萎的花朵,凝固的瞬间。透明树脂想要扑捉的是生命中的一瞬,在美丽渐渐变化,变黄,枯萎之前的那一秒永恒…时间仍然流逝,蒲公英该枯萎变黄的依旧在变,这是一个看似在做无用功的举动,同时也表达了作者对于时间概念的理解,从而孕育出一颗时间的琥珀。简单的两种材料碰撞在一起的艺术张力是无声而又在持续性的进行,雁君用女性特有的细腻与柔美将二者调和。

 

 

The works she made for instance, geometric composition, blown dandelions, withered flowers and the moments of solidification. The transparent resin attempts to capture all these moment that happening in life, the moment before the beauty gradually decay, turns yellow, and withers. Time is still passing, and the dandelion in the resin are still decaying, withering and turning yellow. This is a seemingly doing the useless action but it conveys a concept of her  understanding about the time, thus it nurturing an amber of her time. The artistic tension of the simple collision of two materials is silent and continuous. Yanjun reconciles the two elements with the delicate and feminine beauty.

 

在中央圣马丁和皇家艺术学院的学生时代,她经常使用模具去铸造树脂作品,但在无数学习和探索中,她提出了自己对于模具有了自己的看法。树脂液体形态时可以在模具中可无终止的复制,被制作成成百上千的作品,如同工厂流水线作品,这样重复的制作流程也许在她看来是无味的。所以这次的“无形支撑的系列”作品的制作是使用无固定模具,没有固定模具制作,利用塑胶袋的褶皱去复刻这种轻盈的质感,与此同时固化后的树脂同样有着水泥般的厚重感。这种一轻一重的对话,使枯萎的干花反而有种别致的灵性。“一次性”铸造理念,是对于翻模铸形非常有力的一个讨论,看似柔软的液体形态是否真的有力量的存在过?电影“Lucy”女主角Lucy说“Time is the only true unit of measure. It gives proof to the existence of matter. Without time, we don’t know exist.” 树脂硬化的过程也许是时间推移最好的佐证,也许这样的美妙灵性的作品佐证了她存在的故事?

 

When she was a student at Central Saint Martins and the Royal College of Art, she often used molds to cast resin works during her studies and explorations, she came up with her own views on molds. The resin liquid form can be reproduced endlessly in the mold, and can be made into hundreds of works, just like factory assembly line works. Such a repeated production process may be tasteless to her. Therefore, this time the work "Invisible Support series" is made with no fixed molds and no fixed molds. The folds of the plastic bag are used to reproduce this light texture. At the same time, the cured resin is also cement-like heaviness. This kind of light and heavy dialogue gives the withered dried flower a unique spirituality. The concept of "disposable " casting is a very powerful discussion of over mold casting project or sculpture nowadays.

 

Has the soft liquid form really have strong power? A French science fiction "Lucy" said "Time is the only true unit of measure. It gives proof to the existence of matter. Without time, we don't know exist." The process of resin hardening may be the best proof of the passage of time or Maybe such wonderful spiritual works support her story of existence as well ?

 

“我喜欢用树脂材料的可塑性去重新定义液体的灵性与力量。我曾使用硅胶磨具去塑造树脂的形状,规格大至树脂砖砌成的透明门;也有小至树脂封印的花骨朵。树脂在固定的模具中,有液体到凝胶质再到固化的过程,也是自己对于自身处境的隐喻” 艺术家这样回答。

 

"I like to use epoxy as main material to redefine the spirituality and strength of liquids. I have used silicone abrasives to shape the shape of resin. The size is as large as a transparent door made of resin bricks. There are also as small as flower bud sealing in the resin. The resin formed in a fixed mold, there is a process from liquid to gel to solidification, which is also a metaphor for her own situation understanding" the artist replied.

 

在今年5月由伦敦大学金史密斯学院中国学联发起, 国际艺术大学联盟主办,中国驻英国大使馆教育处大力扶持的第一届国际青年艺术设计展就“意外”这一主题根据这一场出乎意料全球疫情事件发起了国际大学联盟举办的用艺术对抗意外,去探索全球艺术的融合性。得到了中国驻英国大使馆教育处的支持。其中,陈雁君的作品“Invisible Support/无形支撑系列,给人一种纯净且有灵性的感官刺激,用看似轻盈无物的东西承载着一些普世话题的讨论。

 

 

In May of this year, the first international youth art and design exhibition was initiated by the Chinese Students' Union at Goldsmiths College, University of London, hosted by all the International Art University Alliance, and strongly supported by the Education Office of the Chinese Embassy in the United Kingdom. The unexpected global COVID-19 pandemic initiated the use of art to fight this accidents organized by the International University Alliance to explore the integration of global art. Chen Yanjun's work "Invisible Support/ Invisible Support Series" gives people a pure and spiritual sensory stimulation, carrying discussions on some universal topics with seemingly light and innocent things.

 

 

她说,“远在家乡武汉发生的疫情与在国外自己经历在欧洲的疫情,有一种无形的纽带支撑着一种不一样难言的情感。与此同时用流动感的树脂去支撑与滋养开的正茂盛的干花,看似不合逻辑的组合,反而在我看来有种 “侘寂wabi-sbi”的美感和灵性。” 这也许是树脂回到了其天然保护的属性。

 

She said, “The pandemic that occurred in Wuhan, in my hometown, is different from the situation in Europe I experienced abroad. There is an invisible bond that supports a different kind of difficulty. At the same time, the vigorous resin is used to support and nourish the lush vegetation. The seemingly illogical combination, in my opinion, has the beauty of "wabi-sbi". It may seems like meaning of resin for her has returning to its natural protective purpose.

 

目前她的很多作品的表现形式,是通过铸造新的雕塑作品来赋予物件新的灵性,注入新的记忆到其中,材料的轻盈感和内容的丰盈构成了陈雁君作品中的“不可承受之轻”。

 

Currently, many of her works, materials are made of resin, through the resin to inject sense of spiritual to the objects, and also add  a new memory to it. The lightness of materials and the abundance of content has constitute the "unbearable lightness" of Chen Yanjun's works. .

 

 

Invisible Support I, 2020April resin, natural dry flowers 25*16*45 cm

 

Invisible Support I, 2020April resin, natural dry flowers 25*16*45 cm

 

 

 

“Double side in green yellow and blue” , 2019 June, epoxy, acrylic 174*40*40 cm, Dyson Building, Royal College of Art

供图方/文:邓婷(独立策展人)