彭麒，男，生于1972年。1987年，開始學(xué)習(xí)油畫。1996年，畢業(yè)于湖北美術(shù)學(xué)院，美術(shù)學(xué)士。2002年，畢業(yè)于湖北美術(shù)學(xué)院，油畫碩士。2003年至今，任教于北京印刷學(xué)院，教師。獲獎(jiǎng)：2012臺(tái)北新藝術(shù)博覽會(huì) 國際藝術(shù)家評(píng)選賽 大會(huì)主席特別獎(jiǎng)。媒體作品發(fā)表及訪談：日本《Art City》、美國《世界華人周刊》、《Hi藝術(shù)》、《世界藝術(shù)》、《美術(shù)前沿》、《北京商報(bào)》、《東方早報(bào)》等。 

2012年 臺(tái)北 臺(tái)北新藝術(shù)博覽會(huì)

2008年 北京 798藝術(shù)區(qū) 瑪斯德比藝術(shù)中心

2007年 北京 798藝術(shù)區(qū) 紅鼎 畫廊 

2013年 北京 意大利法拉利百年之夜藝術(shù)展

2013年 北京 中華世紀(jì)壇 首屆屈原《九歌.山鬼》主題藝術(shù)展

2013年 北京 德易家生活藝術(shù)空間

2012年 北京 2012 798藝術(shù)節(jié)

2012年 臺(tái)北、高雄 寶勝畫廊

2010年 美國 巴塞爾-邁阿密藝術(shù)博覽會(huì)

2010年 韓國 Arma博物館 Pop Art 當(dāng)代藝術(shù)展

2010年 紐約 “中國演義”當(dāng)代藝術(shù)展

2010年 北京 798藝術(shù)區(qū) 第一屆798多媒體藝術(shù)節(jié)

2010年 北京 宋莊藝術(shù)區(qū) 第六屆宋莊藝術(shù)節(jié)

2010年 內(nèi)蒙古 燕柏格 第二屆燕柏格國際藝術(shù)節(jié)

2010年 北京 北京航空航天大學(xué) 美術(shù)館

2009年 北京 中國國際貿(mào)易中心 GREEN 當(dāng)代藝術(shù)展

2009年 內(nèi)蒙古 燕柏格 第一屆燕柏格國際藝術(shù)節(jié)

2009年 北京 草場(chǎng)地藝術(shù)區(qū) CCD300畫廊

2009年 北京 環(huán)鐵藝術(shù)區(qū) 環(huán)鐵時(shí)代美術(shù)館

2009年 重慶 首屆重慶國際藝術(shù)節(jié)

2008年 美國 巴塞爾-邁阿密藝術(shù)博覽會(huì)

2008年 紐約 亞洲藝術(shù)節(jié)

2008年 北京 亞洲當(dāng)代藝術(shù)博物館

2008年 內(nèi)蒙古 燕柏格 第一屆木蘭圍場(chǎng)國際壁畫藝術(shù)節(jié)

2008年 北京 798藝術(shù)區(qū) 紅星 畫廊

2008年 北京 環(huán)鐵東壩藝術(shù)區(qū) 后街藝術(shù)工廠

2007年 北京 清華大學(xué) 藝術(shù)中國 全國畫展

2007年 北京 798藝術(shù)區(qū) 紅星 畫廊

2007年　 北京 觀音堂藝術(shù)區(qū) 嘉維 畫廊

2007年 北京 愛家國際收藏交易中心

2006年 北京 798藝術(shù)區(qū) 3818庫 畫廊

2006年 北京 798藝術(shù)區(qū) 中方角 畫廊

2006年 北京 觀音堂藝術(shù)區(qū) 觀音堂美術(shù)館

2006年 北京 通州藝術(shù)區(qū) 北京時(shí)代美術(shù)館

2005年 北京 798藝術(shù)區(qū) 3818庫 畫廊

2005年 北京 798藝術(shù)區(qū) 仁《club》畫廊

2013 Italy Ferrari One Hundred Nights Art Show, Beijing

2013 The first Qu Yuan "Nine Songs . Fairy" theme art exhibition，China century altar, Beijing

2013 De Yi home living art space, Beijing

2012 2012 798 Art Festival, Beijing

2012 X-Power Gallery, Taiwan

2010 Art Basel - Miami Beach, America

2010 Pop Art Contemporary Art Exhibition, Arma Museum , South Korea

2010 Romance Of China Contemporary Art Exhibition, New York

2010 The First 798 Multimedia Art Festival , Beijing

2010 The Sixth Song Zhuang Art Festival , Beijing

2010 Yan Berg International Arts Festival （2nd）,Inner Mongolia Yan Gerber

2010 Beijing University of Aeronautics and Astronautics Art Gallery, Beijing

2009 GREEN art fair, China world trade center exhibition hall， Beijing

2009 2009The first session of the International Arts Festival Yan Berg, nner Mongolia Yan Gerber

2009 CCD300 Art Gallery, Cao Chang Di Art Area, Beijing

2009 Circled iron Times Art Gallery, Circled iron Art Area, Beijing

2009 Chong Qing International Art Festival, Chong Qing

2008 Art Basel - Miami Beach, America

2008 New York Asia Art Festival, New York

2008 Magnolia paddock for the first mural of the International Arts Festival,Inner Mongolia Yan Gerber

2008 Asia contemporary art museum, Beijing

2008 Red Star Art Gallery,798 International Art Area, Beijing

2008 Back street art factory , Circled iron Dong Ba Art Area, Beijing

2008 Red Star Art Gallery,798 International Art Area, Beijing

2007 Tsinghua University, 2007Art China National Exhibition， Beijing

2007 Red Star Art Gallery,798 International ArtArea, Beijing

2007 Ja Wei Art Gallery, Guan Yin Tang Art Area, Beijing

2007 Ai Jia International Art Centre, Beijing

2006 3818 Storehouse, 798 International Art Area, Beijing

2006 Guan Yin Tang Art Gallery, Guan Yin Tang Art Area, Beijing

2006 Beijing Times Art Gallery, Tongzhou Art Area, Beijing

2006 Zhong Fang Jiao Art Gallery, 798 International Art Area, Beijing

2005 3818 Storehouse, 798 International Art Area, Beijing

2005 Ren Club Gallery, 798 International Art Area, Beijing

2001 Hubei Art Academy Gallery, Wuhan 

九歌.山鬼 90cm X 3600cm 2013年 布面油畫 

動(dòng)物系列 

人物系列 

紅色系動(dòng)物 

感覺與想象的藝術(shù)夢(mèng)影 ——彭麒油畫

文/陳池瑜（ 清華大學(xué)美術(shù)學(xué)院教授 博士生導(dǎo)師）

20世紀(jì)中國美術(shù)的一個(gè)最突出的現(xiàn)象，是油畫這個(gè)舶來藝術(shù)品種成為最重要的畫種之一，20世紀(jì)初的近30年中，中國新建了近20所美�；蛩噷＃�開始培養(yǎng)油畫學(xué)生，油畫風(fēng)格經(jīng)歷了寫實(shí)、象征、古典等階段。在30年代初，在上海曾出現(xiàn)現(xiàn)代主義創(chuàng)作思潮，80年代中期，在中國再一次掀起現(xiàn)代主義繪畫思潮。90年代以來，青年畫家們開始追求個(gè)性化的表現(xiàn)方法，并開始吸收影像、電腦設(shè)計(jì)等手法，進(jìn)行新的創(chuàng)作。90年代以來成長起來的年輕油畫家，感覺更加靈敏，思維方式更具有當(dāng)代性。彭麒就是90年代成長起來的優(yōu)秀青年畫家之一。

彭麒在美術(shù)學(xué)院本科和研究生階段，在素描訓(xùn)練和造型能力方面打下了堅(jiān)實(shí)的基礎(chǔ)，但他并不滿足于寫實(shí)畫風(fēng)，而是在想象構(gòu)形方面著力，他創(chuàng)作的頭像系列，以風(fēng)格化的手法研究各種人物面部表現(xiàn)的種種神態(tài)，仿佛是一部社會(huì)眾生形態(tài)庫，這些作品預(yù)示著他要走一條屬于自己的個(gè)性化藝術(shù)道路。

彭麒是一位具有靈性和才華的畫家。他積極地表現(xiàn)著周圍的世界，但他并不是去復(fù)制這個(gè)世界的具體物象，而是用心靈去感覺，用思維去創(chuàng)造新的物象，也就是說，彭麒羞于將客觀世界中的人、動(dòng)物及物象直接描繪。而是將其轉(zhuǎn)換成想象中的夢(mèng)幻影像。

彭麒對(duì)小動(dòng)物尤為關(guān)注，他說，一直以來，那些仿佛會(huì)說話的精靈總在腦海中跳舞。他似乎在用心靈和這些小精靈對(duì)話，他以捕捉到他們?yōu)閯?chuàng)作的樂趣。他描繪的這些小精靈有貓、狗、猴、豬、蝴蝶等，生動(dòng)而富有情趣。他用單色為背景，使動(dòng)物的形象特征更為強(qiáng)烈。這些小精靈有些憨厚、有些機(jī)智、有的被夸張變形、有的朦朧，每一張作品，都是一種生命的形式。他用兩年時(shí)間，畫了一百張小精靈，畫面閃爍的是一種生命力和童趣。這些小精靈成為彭麒創(chuàng)作的靈感來源，對(duì)生命和童稚的探詢正是他創(chuàng)作的原始動(dòng)力。

彭麒在湖北求學(xué)時(shí)，受到楚文化浪漫主義藝術(shù)的熏陶，崇拜鳳鳥的楚先民創(chuàng)造了絢爛的漆藝術(shù)，漆藝的造型和色彩開啟了彭麒的藝術(shù)想象力。彭麒以鳳凰作為對(duì)象創(chuàng)作了一組想象豐富的作品，鳳鳥被意向化，畫面流光溢彩，創(chuàng)造了一個(gè)旋轉(zhuǎn)流離的想象世界，用筆的書寫性即使畫面流動(dòng)自如，又帶有強(qiáng)烈的東方藝術(shù)精神特征。鳳凰組畫，是吸收中國浪漫主義創(chuàng)作方法加以新的有益試驗(yàn)的積極成果。

彭麒還對(duì)20世紀(jì)西方抽象主義進(jìn)行研究，嘗試運(yùn)用抽象手法進(jìn)行新的創(chuàng)造。他的抽象畫有的具有表現(xiàn)性特征，“隨手萬變，任心所成”是他神往的創(chuàng)作狀態(tài)。他將中國書法運(yùn)筆的自由靈動(dòng)和線條流轉(zhuǎn)融入畫中，使其抽象畫帶有書寫的特點(diǎn)。此外他將設(shè)計(jì)的某些因素引入抽象畫中，畫面和色彩富有裝飾與構(gòu)成的形式美感。這些作品無疑是當(dāng)代抽象畫新的收獲。

彭麒的創(chuàng)作手法是多樣的，這反映了當(dāng)代青年畫家追求創(chuàng)作多樣體驗(yàn)的愿望。他的大幅精靈題材畫，運(yùn)用蠕動(dòng)轉(zhuǎn)曲的筆觸和多樣和諧的色彩，造成一種視幻影像效果，觀者可從畫面恍惚的色彩中感知貓、麒麟等形象意趣，在他的作品中視幻與隱喻統(tǒng)一于一體�！堕W耀的身體》系列，人體被夢(mèng)幻化、虛擬化，這些人體被舞動(dòng)的彩帶所纏繞、所隱蔽。作者受《山海經(jīng)》等中國古代神話所啟示，大膽創(chuàng)造出人身貓首的怪異形象。這組作品具有強(qiáng)烈的抽象表現(xiàn)特點(diǎn)，也是作者對(duì)人的身體本質(zhì)的藝術(shù)哲學(xué)思考。人身的本體與遮蔽交織在一起不可分割，人與動(dòng)物相異又相連。這組畫是新世紀(jì)青年畫家對(duì)人體本身思考與表現(xiàn)的富有意義的佳構(gòu)。

彭麒在創(chuàng)作技法上，將傳統(tǒng)的油畫繪制方法同丙烯、電腦設(shè)計(jì)思維方式相結(jié)合，將油畫手繪質(zhì)感和肌理與網(wǎng)絡(luò)和數(shù)字藝術(shù)相結(jié)合，力求創(chuàng)造出富有時(shí)代特征的新的繪畫樣式。在色彩表現(xiàn)上，追求虛擬、光電構(gòu)成的色彩效果，以區(qū)別于以往繪畫中對(duì)自然狀態(tài)下色彩的摹寫。彭麒用這些方法為我們創(chuàng)造了富有個(gè)性特征和風(fēng)格樣式的繪畫作品。

彭麒還很年輕，他在油畫創(chuàng)作上極富潛力和前程！

The Illusive Shadow of the Art of Feeling and Imagination: Oil Paintings by Peng Qi

By Chen Chiyu

Professor , School of Fine Arts, Tsinghua University

A most prominent phenomenon for the 20th century Chinese fine arts is that the imported oil painting became one of the dominant forms in painting arts. During the first thirty years of the century, nearly twenty art schools were established and began to produce students majoring in oil painting. The painting style experienced different phases of realism, symbolism and classicism. In the middle of 1980s a trend of modernist thoughts surged. From the 1990s on the young generation of artists started to absorb methods from the computer imagery design for innovation, whose senses are more acute and ways of thinking more contemporary. Mr. Peng Qi is one of these brilliant new artists after the 1990s.

During Peng Qiu2019s undergraduate and postgraduate studies, a solid foundation was laid by himself regarding the sketch and profiling skills. However, he was not satisfied. His Portrait Series, like a storehouse for human morphs from all walks of life, studies peopleu2019s facial looks in stylized methods. These works of his forecasted his own personalized road of an artist.

Peng Qi is an intelligent and talented artist. He positively portrays the world around him not by mere duplicating but through feelings from the soul and through thinking. Putting it another way, he is shy at depicting people, animal and things of the material world directly, but would rather transform them into images in dreams and illusions.

He pays special attention to small animals. As he put it, these elves are as if always talking and dancing oneu2019s mind. He seems to be talking to these little beings through his soul and experiencing great joy in capturing them in his compositions. The little animals portrayed by him include cats, dogs, monkeys, pigs and butterflies, lively and interesting. He uses one colour for the background in order to make the images of the animals more intense. Some of these little elves are simple and honest, some are intelligent, some exaggerated and transformed, some obscure. Each piece of these works is a form of life. He spent two years on 100 pieces of them, each one glaring with vitality and childlike delight. These little elves became a major source of innovation of Pengu2019s composition. The inquisition about life and innocence is the primeval force of his creation.

was inspired by the lacquer painting profile and colour of the ancient Chu people who worshipped Phoenix and created extraordinary lacquer painting art. He later composed a series of works in the theme of Pheonix. The Pheonix bird is idealized by glaring colours in a vortical drifting world. The paintings are mobilized by the narrating brush, full of spiritual characteristics of oriental art. The Phoenix series is a positive achievement by applying methods in the Chinese Romanticism into new practice.

Beside, Peng also did research on the western abstractionism and is trying to make use of it in new compositions. To be able to draw multifariously by following his heart is the mood he dreams of for his composition. He dissolves the freedom and flexibility of lines in traditional Chinese calligraphy into his paintings, making them carry the character of calligraphy writing. Additionally, he introduced some elements in designing into the abstract paintings, giving the general appearance of the painting a decorative esthetics. Without any doubt these works of art must be among the new achievements of modern abstractionism.

His means of artistic creation is various, which reflects the wish possessed by contemporary young artists to have different experiences during artistic creation. His large productions of the elves theme create an effect of hallucination, through wriggling touch of brush and harmonious colours, in which the viewers vaguely perceive the images of cat, Qilin(a chimerical and auspicious animal in Chinese culture) and so on. In his works, visual hallucination is united with metaphor. In the Glaring Bodies series, human bodies are illusionary and virtualized by being intertwined and concealed by colourful stripes. Inspired by the ancient Chinese fairy tales such as Shan Hai Ching, the author boldly creates the weird image of manu2019s body with catu2019s head. The abstract expression of this series reflects his thought on the essence of human body in terms of artistic philosophy. The human bodies are interwoven with coverings, neither of which is separable from the other. Man and animal are different and yet connected. The series forms a meaningful fine construction out of thoughts on human body and its expression by a young artist of the new millennium.

As for techniques, Peng combines traditional oil painting methods with ideas from acrylic, printing media and computer aided design arts, blending texture of oil painting with digital art, in order to produce a new type of painting with characters of a new era. In terms of colour expression, virtual and photoelectric effects are pursued so as to differ from copying colours in their natural state in the past of painting. With these methods, Peng creates a personal and stylized art of painting for us.

He is young, and full of potentials on his way of oil painting composition.

含蓄與張揚(yáng)——關(guān)于彭麒的油畫“閃耀的身體”系列

文/熊新君 （中央美術(shù)學(xué)院教師 藝術(shù)策展人）

認(rèn)識(shí)彭麒，其實(shí)已經(jīng)有好幾年。但是，對(duì)彭麒作品的關(guān)注，卻是始于去歲冬末,在我策劃的“出走——從學(xué)院到草莽”的展覽中，他是受邀參展畫家之一。

生于70年代初的彭麒。成長于一個(gè)社會(huì)改革快速變幻的內(nèi)陸城市——武漢。對(duì)他來說，成長的印記是中國社會(huì)改革中的種種變化：日益繁榮的經(jīng)濟(jì)市場(chǎng)、日漸豐富的社會(huì)文化生活、日益拆改的街井巷道、日漸增多的城市各色人等。一個(gè)總體意識(shí)上的政治社會(huì)到自由消費(fèi)社會(huì)的漸進(jìn)過程，成為他成長過程的重要背景。彭麒的受教育階段是在有著深厚油畫脈承的湖北美院完成的。湖北美院油畫教學(xué)，遠(yuǎn)有唐一禾先生的西洋畫教學(xué)體系；近有石沖等人的寫實(shí)繪畫基礎(chǔ)，以及郭正善、胡朝陽等人的自由繪畫語言。這些成為湖北美院油畫教學(xué)的重要脈承，也成為彭麒油畫學(xué)習(xí)的重要土壤。

彭麒現(xiàn)在的身份是北京印刷學(xué)院的一名美術(shù)教師，工作和生活在一個(gè)藝術(shù)文化蓬勃發(fā)展的都市——首都北京，同時(shí)又是一個(gè)相對(duì)獨(dú)立的高校校園。

從上個(gè)世紀(jì)90年代以來當(dāng)代藝術(shù)的迅猛發(fā)展，不但使中國的當(dāng)代藝術(shù)走出國門，而且使中國的當(dāng)代藝術(shù)家和藝術(shù)產(chǎn)業(yè)具備了國際化的經(jīng)驗(yàn)和歷程，使得一大批的當(dāng)代藝術(shù)家具有更加廣泛的訴求方式和多樣的表達(dá)語境。這種變化導(dǎo)致的一個(gè)重要的結(jié)果之一，便是學(xué)院派藝術(shù)的邊緣化趨勢(shì)和年輕的“學(xué)院藝術(shù)家”（青年教師）的泛市場(chǎng)化現(xiàn)象。這種泛市場(chǎng)化不僅僅只是停留在形式上，而是嚴(yán)重影響到“學(xué)院藝術(shù)家”們的繪畫語言以及表達(dá)方式上。使其自覺地游離于學(xué)院藝術(shù)的核心范疇。這個(gè)過程正是中國藝術(shù)受到市場(chǎng)影響的一個(gè)表象特征。也是“70后”學(xué)院藝術(shù)家的共同特征。彭麒正是在這種形式下自覺的進(jìn)入到“體制”之中，成為無數(shù)個(gè)體中的一個(gè)。

彭麒的“閃耀的身體”系列，是在近幾年創(chuàng)作的一個(gè)主題性很強(qiáng)系列作品。

從作品中，我們不難看出，藝術(shù)家自身的成長經(jīng)歷、學(xué)業(yè)背景以及視覺經(jīng)驗(yàn)在作品中留下的印跡。這種印跡正是成長經(jīng)歷中的不穩(wěn)定性、學(xué)習(xí)過程的專業(yè)性以及成年后經(jīng)驗(yàn)性，所形成的對(duì)于繪畫主題的適時(shí)性及繪畫語言形式的多重性。

從繪畫語言和風(fēng)格來看，表現(xiàn)出藝術(shù)家對(duì)于學(xué)院派藝術(shù)的無限留念，以及對(duì)于自我寓言式的精神體驗(yàn)的強(qiáng)烈追求。一方面，流露出相對(duì)保守的含蓄式學(xué)院風(fēng)格。比喻對(duì)于人體的描繪方式，都是采用常見的學(xué)習(xí)經(jīng)驗(yàn)式的探索，一定程度上延續(xù)了學(xué)院派風(fēng)格的繪畫模式——含蓄而規(guī)正。另一方面，藝術(shù)家通過對(duì)自身情感的體驗(yàn)，而延伸出來的對(duì)于傳統(tǒng)繪畫語言的突破：對(duì)于畫面空間的解構(gòu)性非真實(shí)處理，讓傳統(tǒng)的人物主題出現(xiàn)在夢(mèng)幻般的外圍空間。從形式上是吸取中國書法的書寫的手感和筆勢(shì)及中國傳統(tǒng)繪畫的寫意技巧，充分地拓展了油畫繪畫語言的表現(xiàn)性。借用藝術(shù)家自己話來說：是試圖去表達(dá)流動(dòng)的時(shí)光，絢爛的色彩，翻轉(zhuǎn)穿插的空間，隨意揮灑的書法筆勢(shì)，渲潤滲化的東方氣韻……

表現(xiàn)在畫面上，則是一股強(qiáng)烈的浪漫的情感張揚(yáng)和行云流水般的情感宣泄。這是對(duì)古典繪畫空間處理的一次當(dāng)代性的詮釋。從而形成了一種內(nèi)在語言的多重性表達(dá)方式。也或是一種內(nèi)在語言的矛盾統(tǒng)一。這種矛盾統(tǒng)一，便是對(duì)于東方文化或?qū)W院派繪畫的一種含蓄式表達(dá)方式的理解，以及藝術(shù)家對(duì)自身經(jīng)驗(yàn)的情感表達(dá)的張揚(yáng)。以此構(gòu)成了這個(gè)系列作品的主題性表達(dá)——含蓄與張揚(yáng)。

這種含蓄與張揚(yáng)，同時(shí)也是和藝術(shù)家的自身性格是密不可分的。在生活中的彭麒，是一個(gè)自信、幽默卻又謙虛的人。在每一次的大小集會(huì)中，你會(huì)發(fā)現(xiàn)，他一直是那個(gè)說話最多、幽默最多的主角。但是一談起藝術(shù)話題，他卻是一個(gè)謙虛而含蓄的大男孩。他這種自信與含蓄的多重性格也必然會(huì)在他的作品中隱現(xiàn)，表現(xiàn)出來就是一種內(nèi)在的矛盾與沖突。

從作品的內(nèi)容和題材來看，表現(xiàn)出藝術(shù)家對(duì)于社會(huì)現(xiàn)實(shí)文化的敏感和憂慮，以及對(duì)于新鮮事物強(qiáng)烈的訴求望。

隨著消費(fèi)社會(huì)經(jīng)濟(jì)的不斷發(fā)展，特別是數(shù)字網(wǎng)絡(luò)技術(shù)的不斷普及化。眾所周知，女性身體成為一個(gè)重要的市場(chǎng)時(shí)尚話題，甚至是一個(gè)巨大的產(chǎn)業(yè)。隨之而來的便是，一個(gè)女性身體被過度的展示和炫耀的社會(huì)文化現(xiàn)象。從而帶來嚴(yán)重的社會(huì)問題。隨意翻開雜志或網(wǎng)頁，隨處可見充滿著誘惑的女性身體的暴露和展示。藝術(shù)家敏感的注意到這一點(diǎn)，以繪畫的形式展現(xiàn)出來，適時(shí)地表現(xiàn)出自己對(duì)于社會(huì)問題的憂慮，體現(xiàn)出藝術(shù)家深度的社會(huì)責(zé)任感。從另一個(gè)角度來看，也說明藝術(shù)家敏感地抓住了在這個(gè)時(shí)代女性身體張揚(yáng)的社會(huì)狀態(tài)。從而成就了自己的創(chuàng)作主題 。進(jìn)一步詮釋了他繪畫主題的張揚(yáng)性特征。另外，從作品表現(xiàn)的主體內(nèi)容來看，不難看出藝術(shù)家對(duì)于新鮮事物的敏感和興趣。如，女性身體的造型、動(dòng)態(tài)，無不顯露當(dāng)代時(shí)尚文化元素。甚至吸取當(dāng)今最為流行的動(dòng)漫造型語言，以此作為自身繪畫語言對(duì)于傳統(tǒng)人體繪畫的一種突破和再創(chuàng)。也表現(xiàn)出數(shù)字網(wǎng)絡(luò)對(duì)人類生存環(huán)境、思維方式、藝術(shù)創(chuàng)作的影響。也進(jìn)一步驗(yàn)證藝術(shù)家作品的時(shí)代性和當(dāng)代性特征。這是彭麒作品的重要時(shí)代標(biāo)簽。

通過和彭麒的談話得知，“閃耀的身體”系列沒有完結(jié)，而是正在向著一個(gè)更加準(zhǔn)確、純粹的語言形式在探討。盡可能的拓展油畫的繪畫可能性，使油畫這門傳統(tǒng)的繪畫形式，在新時(shí)代具有更加豐富的表現(xiàn)語言和空間。這也是彭麒今后繪畫研究的一個(gè)重要課題。從他現(xiàn)在的作品潛質(zhì)，我們有理由相信：彭麒的藝術(shù)，在今后的社會(huì)條件下，能夠不但繼承傳統(tǒng)的文脈和淵源，并吸收新的社會(huì)文化信息而延伸和蛻變，達(dá)到自身繪畫風(fēng)格的延續(xù)和豐富，出現(xiàn)更加完美的作品。

Reservedness and Outstandingness—On the “Flashing Body” series by Peng Qi

By Xiong Xin jun (Teacher , Central Arts Academy, Exhibition Manager)

Though having known Peng Qi for several years, I only started to pay attention to his works when he was invited to the exhibition “Exile, from Academy to Wilderness” managed by myself last winter.

Born in the early 1970s, Peng grew up in a rapidly changing society of an inland city—Wuhan. To him, his growing footprints may cover very bit of social reforms in China: ever increasingly prosperous market economy, ever richer social and cultural life, parts of city that has been pulled down and built up, increasing sundry metropolitans, etc. From an ideologically political society to a free consumer society, it is the background of his growth. Peng finished his education at Hubei Arts Academy, where there has been a deep tradition in oil painting. Education in oil painting there witnessed the western teaching system brought by Tang Yihe in the early ages, realistic painting basics by Shi Chong in recent time, and free painting language of Guo Zhengshan and Hu Chaoyang. These are the lineage of teaching in Hubei Arts Academy, and soil for Peng to study oil painting.

Peng Qi is presently an art teacher at Beijing Institute of Graphic Communications, living and working in a prospering capital city, Beijing, and a relatively independent college campus.

The swift development of contemporary art since the 1990s not only let Chinese art go out to the world, but also let Chinese artists and the art industry acquire international experiences and let a large group of artists gain access to a wider range of expression and multiple contexts. The change induced a significant consequence, that is, the tendency of marginalization of academy arts and the phenomenon of pan marketilization of young “academy artists” (young teachers). This pan marketilization not only maintains in superficial forms, but also seriously affects the painting language and expression of the “academy artists”. The process is a visible character of the Chinese art being affected by market and of the post 1970s academy artists. It is in such a situation that Peng walks into the “system” voluntarily, and becomes one of the numerous individuals.

The “Flashing Body” is a series of intense themes in Pengu2019s composition in the recent years.

It is easily seen that the artistu2019s growing experience, academic background and visual experience left marks in the works. These marks are the instability in the artistu2019s growth, professionalism of the study progress, adult experience, timeliness of the painting themes and multiple painting language forms.

In the aspect of painting language and style, the works show the artistu2019s nostalgia toward the academy art and strong pursuit for a self allegoric spiritual experience. On the one hand, they reveal a relatively conservative and reserved academy style. The way of depiction of body by allegory adopts the common study-experience styled exploration, extending to some extent the painting mode of academy style—reserved and formal. On the other hand, through his own emotional experience, the artist breaks through the traditional painting language: the deconstructed unreal handling of space, the appearance of traditional figure theme in a dreamy surrounding space. In form he absorbs the feel of Chinese calligraphy and freehand skill in the traditional Chinese painting, expanding the expression in oil painting language. In his own words, he is trying to convey the flowing time, the luscious colours, contorting and overlapping space, casual calligraphy momentum, oriental air of colour washing and seeping…

In the appearance of the paintings, there is a strong display of romantic sentiments and unhindered unbosoming of emotions. This is once again a contemporary interpretation of spatial arrangement of the classical painting, forming a multiple way of expression of inner language, and an inherent linguistic unified contradictions. The unified contradictions are an understanding of the way of expression by the oriental culture or the academy school painting, and a display of artistu2019s experience and emotion. Thus is constructed the thematic expression of the series—reservedness and outstandingness .

Such reservedness and outstandingness are in the meanwhile inseparable from the artistu2019s personality. In life, Peng is a confident, humorous and modest person. In every meeting, big or small, he is the centre of speech and humour. When art is discussed, he becomes a modest and reserved big boy. His dual character of confidence and reservedness makes appearance in his works, showing an inherent contradiction and conflict.

Judging from the content and subject matters, the artistu2019s sensitiveness and concern for the societyu2019s realistic arts are displayed, as well as his intense interest toward new things.

As is known to us, with the development of economy and consumer society, especially the popularization of digital network technology, the female body has become a fashionable topic of market importance, even a huge industry. Consequently, the social and cultural phenomenon of undue exhibition of female body brings about serious problems. Opening magazines or web pages randomly, we see luring exposure and exhibition of female body. The artist noticed this point alertly, and poses timely his concern for this social problem in the form of painting. From another angle, it shows that the artist seizes the present social condition of emphasizing female body, thus constructing his theme of composition. From the major content of the works, the artistu2019s sensitiveness and interest for new things are easily seen. For example, in the profiling and motion of the female body, fashionable elements are employed everywhere. He even absorbed the most up to date cartoon language. In accepting these as his own painting language, he makes breakthrough in the traditional human body painting, and presents the influence of digital network over manu2019s existing environment, over way of thinking and over art composition, and furthermore, proves his worku2019s timeliness and contemporary quality. These are important time tags of Pengu2019s works.

In talks with him, I came to know that the “Flashing Body” series is not finished completely. It will be explored in a more accurate and purer linguistic form, searching possibilities in oil painting and giving this traditional form of painting richer formalistic language and space. This will be another important topic in Pengu2019s later painting research. Out of the potential quality of his paintings, we may well believe: under todayu2019s social condition Peng Qiu2019s art will not only inherit tradition but will also absorb new social and cultural information. His painting style will be continued and enriched. He will produce more perfect pieces of works of art.

翩躚懸想——《閃耀的身體》作者自述

文/彭 麒

技術(shù)飛速發(fā)展的今天,網(wǎng)絡(luò)覆蓋了我們的生活并影響了我們的思維，時(shí)空關(guān)系被徹底改變了。在目不暇接的資訊撲面而來時(shí),每個(gè)個(gè)體呈現(xiàn)出不同以往的激越、欣喜、錯(cuò)愕或是被誘惑的沉淪。由于數(shù)字網(wǎng)絡(luò)的存在,有些狀況甚至觸動(dòng)到某些政治、經(jīng)濟(jì)、文化既有的格局。甚囂塵上的“各種門”事件在中國越發(fā)把偶像還原成活生生的肉身凡人。人們不再輕易相信某種恒定的價(jià)值與法則，越來越多的人正發(fā)揮著自己的想象詮釋著未來和自己的真理，釋放著生命的張力。來源于數(shù)字與網(wǎng)絡(luò)的﹑虛擬的﹑真?zhèn)位祀s的事件，成為當(dāng)下人們生活方式的客觀反映。從某種意義上來說，虛擬生活就是客觀存在的現(xiàn)實(shí)生活。如果承認(rèn)虛擬生活也是生活的話，充滿想象與虛擬的當(dāng)代藝術(shù)就是這個(gè)時(shí)代的“現(xiàn)實(shí)主義”藝術(shù)。

傳統(tǒng)文化中令人乏味的寂寞與忍耐越來越受到大眾文化喧囂與浮華的沖擊與反叛。于是在思想與身體解放之后，出于對(duì)欲望泛濫帶來的浮躁與“膩”味的反思，人們不禁又懷念起某種節(jié)制與平和來。就好比大家吃多了生猛海鮮和大魚大肉后，又鐘情于那些精心制作的私家小菜來。我所創(chuàng)作的《閃耀的身體》系列正是基于此種出發(fā)點(diǎn)——直面欲望，重拾起傳統(tǒng)油畫技術(shù)去捕捉各種閃耀的虛擬幻象。也可以說是基于某種欲望的想象，對(duì)人性整合的描繪。

我們終歸會(huì)走出自我的藩籬，奔向一個(gè)離奇的想象世界。每個(gè)人都有詩人般的古典心腸與浪漫情懷，每個(gè)人都涌動(dòng)著幼稚鮮活的生命力。古往今來，人們走過地老天荒，飽經(jīng)各種悲情的礪煉后，對(duì)美麗的憧憬一直沒有消失。我們看到的“美麗”可能都是一種假象，只是海市蜃樓般的鏡像，但我們寧愿相信它是真的，因?yàn)槲覀兿矚g那些不知何時(shí)竄出來的可愛的思想精靈，或者僅僅是看見漂亮異性時(shí)大腦分泌內(nèi)啡肽所帶來的愉悅的體驗(yàn)。管它是“人工美女”還是漫畫主角，就像科學(xué)家給嬰兒看美女圖片他們會(huì)停止哭鬧仔細(xì)觀瞧一樣。

美與丑的定義會(huì)隨時(shí)代的不同而演進(jìn)和豐富，而空前的想象力，卻是推動(dòng)人類進(jìn)步的原動(dòng)力。這批作品試圖留給看畫的人一些想象空間：畫面上3D游戲中常見的健康、性感、壯碩的女人體或許是個(gè)人心靈深處的第四性征心理原型的體現(xiàn)；擬或是女英雄情結(jié)在大眾集體無意識(shí)中的投射。而充滿流行設(shè)計(jì)元素的數(shù)字特效與東方風(fēng)味的裝飾紋樣讓人感到似曾相識(shí)，這些線條與紋樣來自于對(duì)于東方文化整體感覺，它不僅是中國的，還具有波斯﹑印度﹑日本等相類似的文化特點(diǎn)。這些作品似乎一直在敘說一組組矛盾：

陰柔VS陽剛；

抽象VS具象；

虛幻VS真實(shí)；

精神VS肉體；

存在VS未知；

坦露VS遮蔽；

曖昧VS直白；

現(xiàn)代VS傳統(tǒng)；

數(shù)字VS手繪；

極少VS極多。

這些二元關(guān)系可能是中國傳統(tǒng)的陰陽文化思維方式在油畫語言中的自然流露，也可能是喜歡用筷子的中國人在思維層面的形象體現(xiàn)。當(dāng)然這些思辯被云蒸霞蔚，寶氣氤氳的表象所淹沒。因?yàn)槲覀兠總�(gè)人都會(huì)呈現(xiàn)出多面性，既有形而下的，也有形而上的關(guān)注；每個(gè)藝術(shù)家當(dāng)他拿起畫筆創(chuàng)作時(shí)就會(huì)有意識(shí)無意識(shí)的像個(gè)“觀念藝術(shù)家”一樣去表達(dá)。這種“觀念”可能有時(shí)偏向“邏輯”，有時(shí)可能偏向“太極”，還有可能偏向說不清楚的“無極”，或者僅僅只是本能的渲泄。

閃耀的眩光環(huán)繞在人體四周，是我們所處時(shí)代的無窮可能性的象征。它是變幻的，運(yùn)動(dòng)的，無常的，神秘的，甚至是充滿誘惑的。那些由細(xì)碎的線狀和片狀組成的，充滿氣體或是液體的“隨手萬變，任心所成”的物質(zhì)，是數(shù)字時(shí)代精神律動(dòng)的產(chǎn)物。它把與之交相揮映并充滿欲望的，存在于三維空間的肉體有力地提升到另一個(gè)有趣而虛幻的時(shí)空中來。在這里除了遼闊的想象外，或許還有某種少年般的對(duì)神秘事物的敬畏與好奇。希望這些物質(zhì)可以形成些戲謔的會(huì)說話的生物，去接通我們現(xiàn)實(shí)而閉塞的神經(jīng)，喚醒我們沉睡的原型和靈魂，走入我們被簡單粗暴的理性控制下的心靈，以及被欲望貪婪裹挾的身體。不為別的，只為那充滿離奇劇情般的內(nèi)省與沉醉，擬或是片刻的逍遙與神游。也許這些都僅僅只是一個(gè)絢麗好玩的白日夢(mèng)或翩躚懸想。這都沒有關(guān)系，因?yàn)槲覀冃枰�它�?/p>

壯麗或綺婉﹑迭蕩或空靈﹑頓悟或冥想......縱橫穿梭的虛擬想象世界是我們生活中不可獲缺的一部分，它存在于我們呼吸的自由空氣中。不管有意或者無意，我們每個(gè)人都不會(huì)輕易將它拋棄，并愿意隨時(shí)傾聽它的召喚,來往于時(shí)空的輾轉(zhuǎn)，徜徉于心靈的漂流，去觸碰那每個(gè)鮮活可愛的希望。

（ 2008年3月 于 北京 水晶城）

Dancing With Fantasy: authorial account of the Flashing Bodies

by/Peng Qi

With the development of technology and ramification of the internet affecting our life and thought, spatial temporal relationship has been changed thoroughly. In front of the dazzling information overload, every individual becomes excited, overjoyed, astonished or lured in unprecedented ways. Because of this digital network, the existing framework of politics, economy and culture are not spared either. The notorious and easing the tension of life. The digital, interneted, virtual and adulterated events have become a reflection and virtuality is the realistic art of this age.

The unbearable tedium and tolerance in the traditional culture is increasingly facing shock and rebellion from the popular culture. Having freed their mind and body, people cannot help recollecting abnegation and tranquility after reflecting over the impatience caused by the surge of desire. It is comparable to the preference of simple home cooking after feasting too much rich food. The composition of the series of “The Flashing Body” is based upon this point, that is in the face of desire, utilizing techniques of traditional of certain desire and depiction of integration of humanity.

In the end, we are about to free ourselves and embrace the bazaar and fantastic world. Everyone, on the poetic level, has both a classic and romantic inner world. From time immemorial, having experienced all the trials and hardship, mankind has never ceased to envisage the future with good faith. What is seen as beauty may be a false impression, a mirage. We prefer to believe it is true, because we like the cute spirits that come from nowhere, or because we are addicted to the pleasurable sensation caused by the releasing of endorphin in our brain, seeing a pretty one of the opposite sex. It is the same mechanism when scientists show pictures of beautiful women to babies, they stop crying.

The definition of beauty and ugliness evolves and gets enriched in time. Unprecedented imagination has been the prime mover of human progress. This batch of paintings tries to find some room for imagination: the healthy, sexy and robust female bodies commonly seen in 3D games may be a display of the psychological prototype buried deep in the human fourth sex characteristic, or a projection of the heroine complex in the unconscious of the mass. The special digital effect strewn with popular design elements and the decoration of oriental flavour creates a déjà vu. The lines and streaks come from an overall feeling about the oriental culture, not only from the Chinese culture, but from the Persian, Indian and Japanese. These works seem to be narrating group of binary oppositions:

Feminine VS Masculine

Abstract VS Substantial

Unreality VS Reality

Spirituality VS Corporeity

Existence VS the Unknown

Exposure VS Cover

Ambiguity VS Straightforwardness

Modernity VS Tradition

Digital VS Manual

Minority VS Majority

These oppositions may be found in the natural expression of traditional Chinese culture of yin and yang, a representation of the mentality of the chop-stick using Chinese. All the refutations are enshrouded by the cloudy phenomenon. We are all endowed with multiplicity, material aspects as well as metaphysical. Every artist delineates as u2018a conceptual artistu2019 consciously or unconsciously when he or she takes up the brush. Such u2018conceptualityu2019 sometimes tends to lend itself to u2018logicu2019, sometimes to u2018taichiu2019, to untenable u2018boundlessnessu2019, or simply to the outlet of basic instinct.

Flashing light encircling the human body may be deemed a symbol of infinite probability of our time. It is ever changing, mobile, mutable, mysterious and full of temptation. The substance, formed by bits and pieces of line and flake, inflated with gas or liquid, and done with a natural hand and free spirit, are pretty much the product of the time of digitalization. It forcibly elevates the 3D bodies of desire up onto another continuum of interesting, there may be the youthful awe and curiosity toward the mysterious existence. It is hoped that the substance might forge amusing creatures capable of talking, which may connect up our isolated nerves and awake the prototype and soul deeply asleep, and may walk into our heart, tyrannically dominated by reason, and our body, abducted by desire and greed. It is for nothing but the bizarre and fictional self-awaking and self-intoxication, or momentary unfettered freedom and pure roaming of soul. Perhaps these are only a bright-coloured day dream or fantasy dancing swiftly. It does not matter, for we only have need of it.

The virtual and imaginative world has become part of our life. It has become the air we breathe. We will not discard it no matter intentionally or unintentionally. We will listen to its summoning, which travels in time, drifts with our soul and seeks to cherish every lively hope.