高露迪:1:1

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我们高兴地宣布,高露迪的个展“1:1”20201111日开幕,并持续至2021131日。本次展览除布面丙烯作品外,还将首次完整展出名为现实系列(2017-2020)的木板上综合材料作品。

展厅中央,临时建筑现场集结起现实系列创作。该系列的前身可追溯至艺术家从2010年开始的小尺寸木板上综合材料的实验;从2017年开始,这一类别的实践以现实为题,发展成为如今颇具复杂度的整体面貌。在此系列中,艺术家的工作如同反复游走在画家、编辑者与规划师三者之间。他常选择一块大小适中且趁手的画布或木板,由此作为展开工作的界面或谋划蓝图的城池限界。随后推敲、选择与画面接壤的物体材料。这些来源于日常现实、饱含着群体性智慧的工业或消费材料,明艳且高纯度的色彩与时常平滑的质地保持了高度的时代特性,其完美的几何形态又具备了隽永的结构和意味。材料自身的具体尺度、色彩、质地为整幅作品的开展提供了指导性的方向、边界与结构。进而,艺术家通过颜料、画笔构造色彩、线条、形态、笔触对其加以回应,以此往复交缠。

此外,物体材料的特定厚度与造型在光线照明下自然地形成明暗的界别,但整体上保持了相当的克制,使得观者在远近、左右、高低不同的观看中,于颇具欺骗性的平面与立体间游移摆荡;物体材料或细腻或粗粝的质感与画笔创造的笔触肌理相互冲撞、呼应,塑造出富于动态而跳跃的节奏。在这样的反复进退与斟酌中,二维的平面被牵引跃升,三维的形体却被拉扯陷落——两者仿佛展开了一场于绘画立面上的左右互搏,共同推进着与现实共谋的全新绘画语言构建。由此,材料在艺术家的截取、打磨、涂抹、嫁接等动作中丧失了原本的实用属性,却也由此于绘画中获得了解放与重生;意识复写于意象,带动着色彩、笔触、意涵突破平面,于视觉和心理的空间中扰动、生长,踏入诗性的范畴,释放出崭新现实的潜能。

分布于展厅周遭的丙烯绘画,同样按照1:1的比例攫取亭台、窗格等与艺术家生命经验相关的平凡生活意象,并使其降维般封印于画面之中;却与现实系列的拿来主义有所不同,它们基于一种眼光、身体和日常性周遭的共情、共感的方式达成,并通过高露迪高度个人化的视觉系统转译至平面之上。由此,墙面上的布面丙烯创作与展厅中央的木板上综合材料作品形成了高度的绘画性、观念性层面的互文与对位关联,并以此展开对绘画、摄影、电子图像、雕塑、建筑等不同领域的共同视觉经验及其历史遗产的裂变、 聚变之可能的探讨。

exhibition view 2, GAO Ludi_1:1, QIAO SPACE, 11.11, 2020-1.31, 2021. Courtesy artist and WHITE SPACE BEIJING.

exhibition view 3, GAO Ludi_1:1, QIAO SPACE, 11.11, 2020-1.31, 2021. Courtesy artist and WHITE SPACE BEIJING.

We are glad to announce Gao Ludi’s solo exhibition, 1:1 at Qiao Space, opening on November 11, 2020, and continues to January 31, 2021. Other than acrylic works on canvas, this exhibition will comprehensively unveil the Reality series (2017-2020), mixed media on wooden panels.   

At the center of the exhibition hall, a temporary building brings together the Reality series on site. This series’s former incarnation traces back to the artist’s experimentation with mixed materials on small-sized wooden panels in 2010. Since 2017, this genre of works, under the titled Reality, has developed to today’s complexity level. In this series, the artist’s work is to switch between the roles of a painter, an editor, and a planner. He often chooses a medium-sized canvas or board at hand and uses it as an interface of his work or the parameter of the plans he conspires. He then refines and selects the materials that are fitting to the image. The industrial or consumer materials of everyday reality, as the embodiments of collective wisdom, and the glistening and pure colors and smooth textures, exhibit a contemporary quality, while their perfect geometric forms embody timeless structures and meanings. The specific dimension, color, and texture of the materials provide the direction, boundary, and structure that determine the work’s development. In turn, the artist responds to these qualities by constructing colors, lines, forms, and brushstrokes with paint and brushwork, and in so doing, to integrate these elements.

In addition, the given thickness and shape of the material and the object under the illumination naturally distinguish light and shade while maintaining considerable restraint for its overall presentation that would allow the viewer to swing between the deceptively “flat” and “three-dimensional” when viewed them from far and near, left and right, and at different heights. The texture of the object’s material, delicate or coarse, clashes and resonates with those painted by the brush, affording the work a dynamic and skittish rhythm. In this repeated progress and deliberation, the two-dimensional plane is pulled and elevated. In contrast, the three-dimensional form is pulled and sunken – the two notions seem to engage in an “oppositional” struggle with painting while advancing in conspiring with the “reality” in the building of new painting language. Hence, materials lost their former practicalities through the artist’s extraction, polishing, smearing, and grafting, while in the process, they have been liberated and reborn. Meanwhile, the artist’s consciousness is written into the imagery. With colors, strokes, and connotations to break through the plane, stirring and growing in the visual and psychological dimensions, stepping into poetic realms and releasing the potential of new “reality.”

The acrylic paintings distributed around the exhibition hall also take images from everyday life, including pavilions and window panes related to the artist’s life experience. The painted form seal these objects into the two-dimensional surface in a 1:1 ratio. Unlike the “adopted” Reality series, they are grounded on the consensus and empathy of the gaze, the body, and everyday environment and translated onto the picture plane through Gao Ludi’s highly personalized visual system. As such, the acrylic works on canvas on the surrounding walls and the mixed material works on wooden panels at the center of the gallery form an intertextual and referential relationship with regards to painterliness and conception. These works explore the common visual experience and the possibility of fission and fusion in the different fields of painting, photography, digital image, sculpture and architecture, and their historical heritage.

exhibition view 7, GAO Ludi_1:1, QIAO SPACE, 11.11, 2020-1.31, 2021. Courtesy artist and WHITE SPACE BEIJING.

exhibition view 8, GAO Ludi_1:1, QIAO SPACE, 11.11, 2020-1.31, 2021. Courtesy artist and WHITE SPACE BEIJING.

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