新世纪的艺术生态给予了各种绘画类型更大更自由的发展空间FC科隆主场战平，不败气势未被打破，追寻纵深维度上的艺术表达成为了一种新常态。换而言之FC科隆主场战平，不败气势未被打破，在平面的艺术载体下，营造一种“立体”错觉的映像已经不能满足艺术家的表达诉求，抽象元素的添加，使其更言简意赅地表达出来。他们不单可以把所有感官上的认知描绘出来，还可以把内心情感加入其中，游离于具身认知和心象维度之中，一如塞尚所说的FC科隆主场战平，不败气势未被打破：“画家以素描和色彩把自己感觉和知觉到的具体化。”因此，我们在画面里能阅读到，不仅再是物象本身，而是艺术的情感表达。
洪凌 Hong Ling
新安之春 Spring of Xin’an
布面油画 Oil on canvas
85x200 cm 2005
洪凌 Hong Ling
黄山清雪 The Snowy Yellow Mountain
布面油画 Oil on canvas
100x200 cm 2006
洪凌隐居黄山30多年，反复探究自然景致。无论是寒彻心扉的雪压枝头，还是烈日当空肆意生长的茂林，艺术家通过色彩运用将不同时节的风景以略带拟人化的方式展现出来。他在西方传统油画注入东方山水的意境，呈现东西方绘画融合的语境。此外，洪凌深受中国现代山水大师黄宾虹的影响，在自己的作品中将具象与抽象的绘画语言结合，将平涂式的旁白与重迭笔触的肌理结合，正如中国画中的“密不通风，疏可走马”，是其在中国当代艺术的舞台中独树一帜。
曹力 Cao Li
龙马系列之五 Dragon-Horse No.5
布面油画 Oil on canvas
90x140 cm
曹力 Cao Li
马到功成 The Instant Success
布面油画 Oil on canvas
90x140 cm 2013
曹力属马也爱画马。1983年，他为画马曾赴内蒙古海拉尔呼伦贝尔草原体验生活。从1984年创作的《马与楼道》来看，他的马始于具象化。他逐渐从自然写实中加入原始主义的色彩，再开始进一步变形、切割直至加入中国古代砖艺、石雕或壁画的意趣，从而形成一种属于他个人的特殊意象。“马”跟随了曹力很多年，每一阶段的马都是他对“艺术”探索的见证。始于斯，却不终于斯。“马”的形象在曹力的艺术中逐渐成为了个人的的隐喻，总是在不同的语境里面，显示出不同的意义。例如，对马的切割，似乎在象征着现实生活中人的多样面；对于马的填充，似乎象征着现实生活中的喧嚣和拥挤。“马”，宛如他存在的体验。
刘玖通 Liu Jiutong
江南印象之一
The Impression of the South Yangtze River No.1
布面油画 Oil on canvas
130x208 cm 2010
刘玖通 Liu Jiutong
江南印象之二
The Impression of the South Yangtze River No.2
布面油画 Oil on canvas
140x140cm 2010
刘玖通的画与“水”有密切联系，或因童年时期居住于黄土高原时常缺水，或因久居傍江海之地——上海，艺术家偏爱以“水”作为创作主题。画笔挥就之下，携大漠的雄浑气势带“海派”的细腻意趣，力量与柔绵交替中感受大山流水之意境。《江南印象》系列中，临近而观，阳光的余辉、水面、岸堤、小船、芦苇等具体物象展露无遗，总而观之，却已然超越了具象之寻常，呈现空蒙杳霭的灵性氛围。厚重的油彩堆积于画布，刮刀技法穿梭下营造出凹凸之感，胸有成竹，游刃有余。大器纯熟的笔调加之以细腻繁美的构图，在具象与抽象间调和得恰到好处。
在我的认知中，山水是有生命灵性、有姿态表情的，我喜爱与山水相处互动、对望交谈，然后把山水和自己心灵的交感触动，转化为画布上的色彩图像。——刘玖通
冯良鸿 Feng Lianghong
黄16-12-1 Yellow16-12-1
布面油画 Oil on canvas
120x100 cm 2016
冯良鸿的艺术，绘画语境大器。细斟之下，泼墨式挥毫、水墨式皴搓、翰墨式留白、油画式覆盖、伤痕式割刮、涂鸦式用色和抽象式滴彩等作画方式包罗在画面之中。这不禁使人遐思到他的艺术来源于对中西方精华艺术的观察和再创作。读名人的书籍似与名人交谈，而在静观冯良鸿的油画，则似参与一场由冯良鸿发起的古今中外画者的“雅集”。
“我敢说，他画出了布里斯·马登同样品质的作品，论观念、实验性，甚至有所超越，当马登为中国书法所启示，他仍然是个西方人，而当大冯在纽约新绘画的资源中涉水嘻戏，他以中国背景轻松地玩弄准西方美学……我确定，当他忽然在画幅某一处泼洒肮脏的油彩，他同时体验教养与闯祸的快感。”——陈丹青
金甲镇 Jin jiazhen
故乡的记忆 Memory of hometown
纸本线描 Sketch on paper
28x28x9 cm 2016-2017
故乡的记忆局部 Details of the Memory of hometown
金甲镇是属于理性和感性并存的画家，在他的作品中，一方面表现出严谨缜密的艺术思维与艺术逻辑，另一方面从中忠实地保留了作者的绘画初衷和内心诉求。《故乡的记忆》中，外形上采用单一或组合的几何图形，构建出一个坚固、结实的类庙宇形状，俨然一个有力的外壳保护着里面重要的“记忆”。外壳里充满着北国风味的房屋和秩序井然的树木，是金甲镇用传统白描手法刻画下的故乡面貌。去除了缤纷的颜色，画面流露出一种庄严的气氛和极具层次的份量感。线条紧密流畅是画家理性的产物；错落有致的节奏感，画面编排上的几分超现实意象，却是画家感性的流露。
邓国源 Deng Guoyuan
IN DEM BERG在山中No.10
In the Mountain No.10
纸本水墨 Ink on paper
122x122 cm 2004
展览 Exhibition
“湖畔·花园——邓国源西太湖水墨、装置作品展”常州西太湖美术馆、刘海粟夏尹乔艺术馆，中国常州，2016.
“在花园——邓国源当代艺术巡展”，53美术馆，中国广州，2016.
“岭南美术馆——水墨绘画展”，岭南美术馆，中国广州，2015-2016.
“在花园”德国路德维希博物馆德国科隆，2008.
“DISTANZ”德国盖温巴赫博物馆德国，2005.
“长卷——世界寓言”天津三远艺术中心中国天津，2010.
Lakeside·Garden -Exhibition of Ink painting and installation of Deng Guoyuan in west lake,Changzhou Xi Taihu Art Museum, Liu haisu and Xia Yinqiao Art Museum
Insidethe Garden - Contemporary Art Touring Exhibition of Deng Guoyuan 53 Art Museum
Lingnan Art Museum - Exhibition of Ink Painting, Lingnan Art Museum
Inside the Garden, Ludwig Museum,Cologne, Germany
DISTANZ, Bach Museum, Germany
邓国源一直在他的创作中探讨着艺术家和自然的关系，不止于一种具象式的直接呈现，更多的是通过个人视觉经验来对自然现象进一步挖掘，从中形成一种属于他的艺术语言。《在山中NO.10》是在薄纸上通过线条、点和浓淡不一的墨色组合成一个盛大的景象，以其丰富多变的灰色，使观者看到广纳百林、百石、百路的气派山景。在规整简洁的正方形画面下，构图却是复杂的，一时如以鸟瞰山的深远，一时如踱步林间的平远，一时又犹如抬头皆是密林的高远。德国路德维希博物馆长，贝亚特·赖芬沙伊德博士曾评论到，“在解读抽象符号的过程中，眼睛不得不反复重新聚焦，恰如展开一幅古老的画卷，整个形象渐渐显露出来时那样——观看作为阅读行为，作为观赏过程中的解读行为。”在浓缩的空间里，超越了具象与抽象，指向无限。
车建全 Che Jianquan
犹在镜中 As if in the Mirror
布面油画 Oil on canvas
100x75 cm 2009
展览 Exhibition
“犹在镜中—车建全个展”，华艺廊中国，广州，2010.
“富山国际艺术邀请展”，富山县立近代美术馆，日本富山，2014.
“交流——广州美术学院师生油画作品展”，俄罗斯圣彼得堡列宾美术学院——意大利展厅，俄罗斯圣彼得堡，2015.
“融合的力量——当代中国心象艺术展”德国柏林中国文化中心，德国柏林，2016.
As ifin the Mirror - Solo Exhibition of Che Jianquan,Holly’s Gallery
Toyama International Art Fair, Toyama Prefectural Museum of modern art, Toyama Japan
Communication - Guangzhou Academy of Fine Arts oil painting exhibition, Repin, Academy of Fine Arts, Italy exhibition hall, St Petersburg Russia
Powerof fusion - Contemporary Chinese Art Exhibition,Chinesisches Kulturzentrum Berlin, Berlin Germany
出版 LITERATURE
《犹在镜中—车建全画集》，广东人民出版社出版，中国广州，2010.
《美术收藏》第四期2009.
《中华博览》第五期2010.
《名家关注》第四期2010.
《第27届亚洲艺术双年展画册》2012.
As ifin the Mirror - Album of Che Jianquan, Guangdong People’s Publishing House, Guangzhou China
Art collection No.4, 2009
China Expo No.5, 2010
Ming Jia Guan Zhu No.4 2010
The twenty-seventh Asian Art Biennale, 2012
《犹在镜中》是车健全对渺绕霓漫景象的描绘，笔下犹如时间的定格。艺术家运用单色描绘雾中摇曳的花木，干净而又空灵的气息迎面而来。切身感受时，不禁让人发问到底是“物”在镜中，还是“我”在镜中？是具象，还是心象？作品之下，或是孤独而清澈的内心的自然流露，或是对“庄生梦蝶”的再思考，或是“本来无一物，何处惹尘埃”的顿悟。
From embodied cognition to mental cognition
In 21st Century, there is a bigger and freer space for different types of painting in realm of art. A new norm is toseek a horizontal in-depth expression. In other words, artists are not satisfiedto create a cubical image on a plane paper so that they have been making attempts to add abstract language to their work which make them concise and comprehensive. Just as Cezanne had said, ‘Literature expresses itself by abstractions, wherea spainting, by means of drawing and colour, gives concrete shape to sensations and perceptions’. Thus, there is going to be more than embodied deion but mental cognition.
For more than 30 years, Hongling has been rediscovering the natural landscape, whether it is snowy dead branches or midsummer forests. The artist displayed the seasonal scenes in the form of slightly personified through the vivid color on paintings. He has been introducing traditional western landscape paintings into the eastern aesthetics bringing the fusion of west and east to his contemporaries. HongLing, moreover, under the influence of Chinese modern landscape master Huang Binhong. The figurative and abstract painting language converged in his work, also plain brush combined textured painting which make him unique.
Born in the year of Horse, Cao Li has spent a lot of time on painting horses on Hulun-Beir grassland in 1983. From his early painting of ‘Horse & Corridor’, it is no doubt that he began with representational painting. As ‘Horse’ becomes a theme to him that every alternation he has done to his ‘Horse’is an evidence he renewed his expression of art. During the process, he had formed his personal style. Furthermore, horse, a metaphor of himself, has been complex and polysemous. The sliced seem to be a representation of multifaceted character of artist, and the filled seem to be representing of huddles and wrangles in daily life. I, Horse.
Liu Jiutong’s work is closely related to"water", which may be because of the water shortage in childhood when he lived in the Loess Plateau, or may be because of his current living in Shanghai. He prefers to choose ‘water’ as the theme. His work fuses the vigor and harmony with brush strokes. "Jiangnan Impression" series, the rays of sunshine, water, embankment, hesitation, reeds and boats are beyond the representational deion to a spiritual atmosphere. Heavy oil color is piled up on the canvas and the oil scrapers weaves to create a textured and well-thought-out image. The skilled brush strokes are combined with the elegant composition which balance the embodied and mental cognitions well.
In my opinion, landscapes are both spiritual life forms and a postured expression. I’d like to interact and communicate with them, and depict them onto canvas with my heart. - Liu Jiu tong
It is difficult to find specific images from Feng Lianghong’s work. However, ink-splashing, textured strokes of washing painting, leaving space just as Chinese painting, colors of oil painting,textured oil painting etc. All of these can be observed in his work. These make us wonder whether his art comes from the observation and re-creation of the fusion of essential eastern and western art. Reading the books of the famous is like talking to them, and enjoying the paintings of Feng Lianghong is like attending an art seminar discussing among Chinese and western artists which is raised by Feng.
"I would say, his work is as terrific as the work of Bliss Madden’s, in aspect of the theory and experimental of the idea, and even beyond. When Madden enlightened by Chinese calligraphy, he is still from a view of a westerner. However, Feng is playing contemporary art in New York while playing with western aesthetics with a Chinese identity… I'm sure that he splashed a dirty mark on a canvas, simultaneously, he also experienced being educated and pleasant of trouble making." As said by Chen Danqing
Jin Jiazhen is a rational and emotional painter. In his works, on the one hand he has shown artistic thinking and logic, on the other hand under the exquisite stroke and loyal heart has retained the original painting intention and inner demands. The frame structure presents his unique painting language again. In his memory of hometown, he uses single or complex geometric shapes to create a strong and sturdy temple-like shell that could protect important ‘memories’. Inside the shell, Jin uses traditional white tracing techniques to depict the appearance of his hometown, full of well-ordered houses of northern China and leafy trees. Without colors, the work is covered by a solemn atmosphere and layering textures, as if the weight of his growing. The line is tightly flowing and is the product of the painter's sense while the rhythm of the work is the expression of the painter's sensibility.
Deng Guoyuan has been discussing the relationship between the artists and the natural in his work. More than a kind of representational art type, it is digging the natural experience through personal visual experience, which is transformed into an artistic language of his. ‘In the mountain NO. 10’ is filled with thin and thick brush strokes which have formed into a grand sight on paper through the dots and lines. With its rich variety of gray, the viewer is enabled to see hundreds of trees, stonesand roads in the mountain. With a squared frame, composition of the work is complex, which can be a bird’s-eye view, a view of hiker in wood, or a view of looking up from blow the woods. Dr Byatt, curator of Ludwig museum in Germany, once commented, ‘In the process of interpretation of abstract symbols, the sights have to refocus repeatedly, just as opening an old scroll. The entire image willbe revealed gradually, as an ornamental behavior in the process of reading.’ Itis beyond the languages of representation and abstract in the concentrated space which pointing to infinity.
‘As if In the mirror’ is a complete picture of mist, which is like a time freeze. The artist applies monochrome to depict the swaying woods in the mist, and we could even smell the freshness from air.Experiencing this, I can't help asking whether it was the scene in the mirror or I were in the mirror. Is it a concrete or a mental image? Behind the work,is there a lonely heart, or the rethinking of ‘Zhuang Zhou had a butterfly dream’, or the understanding of ‘there is no a thing where dust could beattracted’.
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