二十四诗品 · 形容

唐代 司徒空 (837 - 908)

绝伫灵素，少回清真
如觅水影，如写阳春
风云变态，花草精神
海之波澜，山之嶙峋
俱似大道，妙契同尘
离形得似，庶几斯人

作品自述

‘朝游夕宿’可以算是我近些年在当代风景创作中的一个阶段性成果，既成型于技法方面的探索，也很大程度受到一些思想感悟及艺术理论的影响。这组作品试图在我们对风景艺术的已知视觉经验中，引申出一种熟悉又陌生的新观感。

相较基于户外写生的风景绘画，我以工作室为中心的创作更大的依赖于想象，记忆，各类图像，以及对中国古代山水艺术的研究。从现实层面讲，我现在旅居澳大利亚悉尼，无以见到故乡的山和水。曾经的少数几次名川游历，也早已成为飘忽的记忆，数码照片对于我的创作又怎么看都刺眼，那自然，古代大师们的山水画就是我的精神家园。我曾好奇，像范宽笔下的巍峨山峰，密布丛林，倪瓒画中的水波不惊，林下空屋有着怎样的创作过程？其实关于古人写生的记载和佐证寥寥，最终强调的都是心领神会。会不会这就是山水画中散点透视法的由来？那么多的心中图景，若仅凭以再现人眼视觉效果为目的的线性透视法，何以拼凑在一起？我看着这些来自于古人心源中的山水，就想着也要用散点透视法，绘出自己心中的画面，超出目之所及的范围。想想看，现当代艺术有意思，某种程度就是因为我们的认识开始延伸到感官之外。塞尚越过视觉的限制，重新思考物与空间的关系，波洛克要画出自己的潜意识，霍克尼说树的生长又无关于透视，不打破透视法该怎么画画？回看我这次展览中的作品，可能最有意思的就是，这些画或多或少都结合了我追寻的飘渺的心中山水景象与那些不经意闯入画面的我在悉尼的日常所见，那是一些桉树，砂砾岩，海岸风景，和绚丽的夕阳。

技法层面，这次的作品多少受到水墨画的影响。基于油画湿画法，我在笔法及颜料调和方面做了很多尝试，以对色调的控制和造型的简化为主，追寻一种想象和现实世界的融合状态。有些作品中呈现了浮于主体画面之上的即兴试的笔触和痕迹，这肇始于我嫌画面太过稳定，试图打破，后来再看，感觉倒像是一种对于想象图景的隐喻。单看画面中的风景元素，是再熟悉不过的草木岩石，山川河流，但借助于散点透视，配以古画中常见的小书童，村舍，木船，我则希望观者可以看到一组超越寻常的关于风景的作品，看到那些想象中的色彩和构图，注意到那些消失不见的现实中的光影。对于我个人，创作的动力可能来自于一种无法说清的乡愁，既依托于我对古时山水和文人精神的幻想，又杂糅了身处他乡的所思所想。这些作品既然是心中的画面，那么心所安处即为家。

过去的十年中，我沿着山水，人与环境的关系的方向创造出数个不同系列。围绕着相同的主题，在抽象与具象，理性与表现，观念与审美之中探索更多的可能性。这个过程中，很重要的一环便是对作品的审视，而这也终将因对情绪和认知产生的触动而演化为一种自我审视。说回到这次的作品，我想这些熟悉又陌生的画面或许交叠出一个阙限空间，在这里，所见与所感之间的微妙连结，以及何为存在这恒久又不可言喻的命题，都成为了此次展览的艺术精神之所在。

艺术家生平简述

刘大鹏, 画家。1982年生于北京, 2014年起全职进行艺术创作, 现工作生活于澳大利亚悉尼。自幼便展现出对艺术的兴趣及绘画天赋, 刘大鹏少年时期多年进行速写写生, 素描及色彩的训练, 屡次在赛事中获奖, 后在本科阶段学习视觉传达专业, 毕业于诺森比亚大学并获一等荣誉文学学士。本科时期作为必修课的⻄方艺术史, 奠定了他对于艺术理论的兴趣, 随后在2008年入读悉尼大学艺术史硕士研究生课程, 师从亚洲艺术史专家约翰克拉克教授对中国古代佛教艺术及20世纪早期中国的现代艺术进行研究, 2012年获文学硕士学位及优秀学术奖, 并得到澳大利亚联邦政府颁发的全额博士奖学金。硕博时期,刘大鹏也坚持绘画创作, 受益于对中国及⻄方艺术史研究和思考的深入, 逐渐找到创作方向, 尝试以油画技法再现宋元山水的神貌。2014年为新南威尔士州立艺术馆中国艺术部策展人曹音女士创作肖像, 背景中将北宋郭熙《早春图》与出现于《蒙娜丽莎》画中的⻛景融为一体,此作品入围澳洲最具影响力艺术赛事- 阿奇博肖像大奖赛, 并获得高度嘉奖及前六名的成绩。自此,刘大鹏开始全职投身于创作, 在此后至2024的十年间不断探索, 以山水画传统为灵感来源, 创作出数个不同系列。至今在澳洲及海外已举办过多次商业或机构性个人展览及群体展览, 并屡次入围澳洲各项艺术赛事。其作品被各地藏家广泛收藏。

艺术家简历

ARTIST STATEMENT

Home of Wanderers is the culmination of my latest exploration into the realm of reimagined landscape paintings. Through a blend of techniques and influences, this series of work emphasises revealing the unfamiliar within the familiar.

Unlike landscape works created on the basis of plein-air studies, direct observation of nature or references to photography, my artistic practice is rooted in imagination and memory, together with the study of pre-modern Chinese paintings. By incorporating multiple perspectives within one work, following the old masters of China, I merge disparate viewpoints into cohesive landscapes. Examples such as The Sound of Strings and A Thousand Years showcase this approach, blending near and far, eye-level and bird's-eye views to create immersive scenes that stretch from foreground foothills to distant peak and backdrops. These works attempt to transcend the limitation of the familiar fixed point of view depictions. Such practice somehow also resonates with Cubist artists’ departure from traditional rules of perspective.

Drawing inspiration from the fluidity of ink and water painting, I employ smooth brushwork and simplified forms to create ethereal landscapes that blur the line between reality and imagination. In some works, I have spontaneously layered translucent marks, aiming to add a state of uncertainty and fragility to the image. The trees, rocks, and the water and mist in the valley are all familiar components of the nature, however, the reoccurring youngsters, village houses and fishing boats are borrowed from centuries old Chinese landscape paintings, symbols of my personal nostalgia. Together with the manipulation of composition and perspective, the imagined colour, and the absence of real-world light and shadow, all have contributed to a feeling of unfamiliarity, mystery and quirkiness that transcends time and space.

Over the past decade of my artistic journey, I have created different series of works- abstract, figurative and conceptual, all guided by my ongoing inquiry into the myriad possibilities embodied in landscape paintings. One important part of my practice is to self-question the intent behind the images created and to understand its potential to evoke emotions and how it influences our perception. To this end, viewers may enter a liminal space, where physical materiality belies the ineffability of existence and the fragile nexus between visible form and mutable spirit.  

Bio

Dapeng Liu resides in Sydney, Australia where he creates art that sits at the intersections of his cross cultural identity. Born in Beijing, Dapeng holds a unique cultural lens which enables him to interrogate the past and present of the fusion between East and West.

Dapeng’s art is evocative and thought provoking. His practice is defined by an astute sense of perception and striking nuanced application of colour, composition and form. The contemporary landscape paintings are infused with traditional storytelling and marked by deep thinking, precision and subtle humour.

With a Bachelor of Arts degree followed by a MA by research degree, Dapeng spent three years working towards a PhD degree in art history at the University of Sydney with the support of an Australian Post Graduate Award. Dapeng’s research examined traditional Chinese art and culture as well as the modernisation of art in China. This insight has enabled Dapeng to critically engage with the subject of creation; exploring mountain-scapes and waters-capes, which lead to his over riding focus on the relationship between nature and humankind.

A three-times Archibald Prize finalist (2022, 2021, 2014), Dapeng’s highly commended piece Portrait of Yin Cao on blue-and-green landscape was among the top six shortlisted finalists of Archibald Prize 2014. He has also been a finalist in the Sir John Sulman Prize, the Salon des Refusés, Mosman Art Prize and KAAF Art Prize. His most recent solo exhibitions are Home of Wanderers, Otomys Melbourne (2024), Stillness Juxtaposed, Art Atrium Sydney (2023), and Dapeng Liu: Void, Western Sydney University (2022). His works are held in private and public collections in Australia and internationally.

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