2022年10月22日，由张涛策划的《段落》刘诗阳个展在艺术粮仓开幕。刘诗阳作为当代艺术的新生代，作品展露出独特语言与面貌，在不同阶段创作兴趣的表象差异之间，可洞见她创作性、延续性的实验与探索。

艺术家刘诗阳，生于辽宁 ，2014年本科毕业于中央美术学院造型学院油画系第五工作室，2017年9月至2018年2月获DAAD奖学金并赴德国法兰克福奥芬巴赫设计学院学习 ，2022年6月研究生毕业于中央美术学院设计学院设计批评与策展研究专业。

本次展览呈现了刘诗阳自2017年至2022年六年间的创作，这些作品像一个又一个致密的外壳，包裹着的不是任何形式与经验，而是她的过往种种，情绪或感受。创作中的这种坚定。甚至是拒绝沟通和分享的，但当这些作品被展示出来的时候，完全可以大胆的靠近和感受它们，因为它们呈现出的是一个绝对“安全”和相对“可控”的状态。

本次展览的作品根据材料和主题被区分为“抽象绘画”、“非定型艺术”、“新古典主义绘画”三条线索铺陈在空间中，形成相互勾连的三个段落。

Paragraph 01 抽象绘画作品

“在经历了较长一段时间的刻画和描摹之后，我开始了关于抽象绘画的新尝试，抽象语言主导的创作可以是无关故事性的，也可以暂不考虑形象，元素的简洁能让我安静的感受最朴实的图形、色彩、质感、层次。在这一段时间的创作里，从表达的内容到形式，都是直白的。抽象语言能够使人在创作中始终感受到绘画最初始的纯粹。”

Paragraph 02 非定型艺术作品

“在近五年创作的非定型艺术作品中，我选取石膏粉这一常见的材料，将其作为创作的主要材料，改变了石膏粉常为‘附属品’出现的媒材特性。在《32重》系列作品中，取重字的多音多义，即重量、重复、多一重时间，数字32 则对应的是比最长月份的天 数31天再多一天，由艺术劳动的产出，从物质空间上将时间的围度再叠加一重。”

Paragraph 03 新古典主义绘画作品

“这一部分的图像来源，多是我在欧洲游学期间的摄影纪实，2017年秋至今，缓慢的整理和创作，对我来说照片记录是创作的重要一环，是再现记忆中特别时刻的重要佐证。这个阶段的绘画再次出现具体的物像，绘画语言是比较克制冷静的。博物馆中的古典雕塑、时代感模糊的街景、任何很‘小’的东西 都可以成为绘画的主题。”

艺术粮仓今年3月举办的《恢复的真相》联展中特邀刘诗阳参展，时隔半年，筹备完成了她的首个个展，从作品的不同类别比较全面系统的进行梳理和展陈，艺术粮仓尤其关注当代艺术抽象部分，并推崇中国当代艺术国际纬度背后的东方性，持续发掘梳理具有体现东方气质的作品。刘诗阳作为当代艺术的新生代，作品已然展露出了独特语言与面貌，在不同阶段创作兴趣的表象差异之间，可洞见她创作性、延续性的实验与探索。

为了更好的了解本次展览，下面为您带来的是凤凰艺术对艺术家刘诗阳和策展人张涛的专访内容，一起来听听艺术家作品背后的故事与思考，以及本次展览的策展理念。

 

艺术家刘诗阳采访

凤凰艺术：时隔大半年，你的作品再次在艺术粮仓展出，而且这次还是以个展的形式，你的感受与上次有什么不同？

After half a year, your work was once again exhibited in Art Granary, and this time it was in the form of a solo exhibition. How did you feel different from the last time?

刘诗阳：最大的不同肯定是个人对展览的构想和期待，可以更完整的展现出来。作品的选择上，包括展陈布置上张涛老师都比较尊重我的想法。另外和上次的群展相比，个展里我和艺术粮仓空间的沟通密度比较高。我是第一次做个展，很多流程细节上也是跟空间学习，对我来说也是个梳理作品的好机会。

The biggest difference is definitely the personal conception and expectation of the exhibition, which can be displayed more completely. In the selection of works, including the layout of exhibition, Mr. Zhang Tao respects my ideas. In addition, compared with the last group exhibition, the communication density between me and the Art Granary space in the solo exhibition is relatively high. It's my first solo exhibition, and I learn from the gallery in many process details. It's also a good opportunity for me to go through my works.

凤凰艺术：今年毕业之后生活有哪些改变？创作的时间多吗？

What changes have you made in your life after graduation this year? Do you have much time to create?

刘诗阳：毕业之后把学校多年的东西都搬回家了，家里一度跟菜鸟驿站一样全是箱子，第一次有北漂的感觉了。总的来说变化不大，我的创作时间上一直是比较稳定，不会固定在每天都画都做雕塑，有时候比较忙比较累，会做一些刷框子、筛选素材的简单工作，时间安排上顺其自然，基本保持每周一半的时间在创作。

After graduation, I moved all my school things home. At one time, my home was as full of boxes as the rookie post. For the first time, I felt like “Beijing drifters”. Generally speaking, there is little change. My creation time has always been relatively stable, and I don't have fixed schedule of painting and sculpting every day. Sometimes if I’m busy and tired, I will do some simple work such as setting up painting frames and working on inspirations. The schedule goes with the flow, and I basically keep half the time every week to create.

凤凰艺术：展览中有作品是在隔离期间完成的吗？疫情下的生活对你的创作有哪些影响？

Are there any works in the exhibition completed during the quarantine? How does life under the pandemic affect your creation?

刘诗阳：我的创作是比较匀速的吧，今年不太顺利，断断续续被封在家里两个月，但是画材还算是充足的，被迫不能出门多少有点焦虑，但是反过来这种焦虑又推着我做更多创作。疫情当下对我的生活上影响不大，反而生活节奏变规律了一些，创作也几乎没太受到疫情影响，主要是在出行上受到的影响比较多。今年上半年我住在燕郊，因为疫情管控，在北京的一些活动交流就不能随时去了，更没法儿像疫情前那样，想去哪儿看展览看博物馆就立刻出发了。

My creation time is relatively stable. This year, it wasn’t very smooth, and I was kept at home under lock-down on and off for two months. However, my painting materials were still sufficient, and I felt a little anxious about being restrained, but in turn, this anxiety pushed me to create more. At present, the pandemic has little impact on my life, on the contrast it makes my life more disciplined. My creation has hardly been affected by the pandemic, inconvenience mainly in my travel. In the first half of this year, I lived in Beijing suburb area. Because of the Covid control, I couldn't go to some activities and exchanges in Beijing at any time, and I couldn't go anywhere to see exhibitions and museums as before Covid.

凤凰艺术：是从什么时候开始采取石膏粉作为材料进行创作的？当时是什么样的动机？你觉得对于你而言你的艺术风格是从什么时候开始形成的？

When did you start to use gypsum powder as a material for creation? What kind of motive was it at that time? When do you think your artistic style began to form for you?

刘诗阳：最早的话是2014年左右开始尝试灌一些小的石膏雕塑，当时是受我一个朋友的启发，她申请美国的艺术大学，以水泥粉作为材料做作品。但是水泥干燥后的质感对我来说不够细腻，并且颜色上有一定限制，我就选择了使用方法类似的石膏粉。但是那几年做的东西都比较脆弱不好保存，并且创作重心还是在绘画的方面，直到2017年初，在本科油画系五工的材料课上，才系统的开始以石膏粉作为创作的主要材料，并且做了大量的材料试验，最终发现石膏粉这个材料是有很大研究空间的。大部分观看者对我艺术风格的评价都是安静的、深沉的，这个作品面貌的话，是一个很缓慢的积累过程。

The earliest were about 2014, when I started to try to fill some small plaster sculptures. At that time, I was inspired by a friend of mine, who applied to an American art university and made works with cement powder as the material. However, the texture of the dried cement is not delicate enough for me, and there are certain restrictions on the color, so I chose gypsum powder with similar usage. However, the things made in those years were fragile and hard to preserve, and the focus of creation was still on painting. Until the beginning of 2017, in the material class of the Fifth Studio of the undergraduate oil painting department, gypsum powder was systematically used as the main material for creation, and a lot of material experiments were done, and eventually it turned out that gypsum powder is a material with great potential. Most viewers' comments on my artistic style are quiet and calm, and the appearance of this work is a very slow accumulation process.

刘诗阳：我儿时在辽宁老家学画画，十一二岁的时候，当时的启蒙老师就已经开始给我们看尤恩·厄格罗的原版画册，中午休息时看惠斯勒的纪录片；包括刚上附中时候在草场地看了柯勒惠支的原作、还有在学校画册阅览室看到了米歇尔波若曼斯、图伊曼斯的画册等等。那时候肯定不会看到每个艺术家的作品就能记住名字，或者能讲出来哪里好，但这是一个潜移默化的过程，等年龄再大一点有创作概念的时候、开始大量看到其它作品的时候，突然发现这些浏览的经验，给我造成的那种审美上风格上的积累已经很深刻了。近几年有人看到我作品时会联想到一些艺术家，和我交流是否喜欢他们的作品、是否有吸收他们的风格，我自己认为或多或少会有受到影响，但是这种吸收是自然而然的，并且我觉得观者的这些联想也是偏正向的，我愿意把这些联想理解成对我的肯定。

When I was a child, I learned how to paint in my hometown in Liaoning. When I was eleven or twelve years old, the first teacher at that time began to show us books on Euan Uglow's paintings, and I watched Whistler's documentary during the noon break. Include looking at the original works of Kohler Huizhi at Caochangdi when I was in the middle school, and saw pictures of Michele Poromans and Tuymans in the library, etc. At that time, I won't be able to remember the names or tell what's good when I see every artist's works, but it's a subtle process. When I got older starting to have creative concepts, and started to see a large number of other works, I suddenly realized that these browsing experiences have accumulated a profound aesthetic style for me. In recent years, when people see my works, they will think of some artists and communicate with me whether they have absorbed their styles. I think it will be more or less affected, but this absorption is natural, and I think these associations of viewers are also positive. I would like to take these associations as an encourage of me.

凤凰艺术：了解到你曾去过德国交换一学期，那段时间对你的创作风格有哪些影响呢？

Knowing that you have been to Germany for an exchange program, how did that time affect your creative style?

刘诗阳：对风格没有太大影响，有变化的是我开始以更轻松的状态面对创作了，造成这个变化的原因是去欧洲看了大量原作之后，发现很多六七十年代作品从概念、效果，包括尺幅、精细程度都做的太好了，那段时间开始对抽象艺术的创作也有些回避，具体的感觉就像是第一次看到古典油画的原作时，抛开当时的历史背景，仅从技术角度那种没法儿比的差距，让我有点儿自我怀疑现在还继续画这些还有没有意义，用现在的话说就是“摆烂”了，但是这种妥协是积极的，反正已经晚一步了，也不一定能做那么好，那就从“小”的东西做起吧。

It doesn't have much influence on the style of my work. What has changed is that I started to look at the creation process in a more relaxed state. The reason for this change is that after going to Europe to see a large number of original works, I found that many works in 1960s and 1970s were excellent in terms of concept, effect, scale and details. During that time, I began to shy away from the creation of abstract art. The specific feeling was like when I first saw the original works of classical oil paintings, being left aside the historical background, even only from the technical point of view, the incomparable gap makes me a little self-doubt. It feels meaningless to continue drawing these pictures. In the trendy term, it's “put rotten”, but this compromise is not all bad, it made me decide to deal with something "small".

凤凰艺术：你研究生专业是设计批评与策展研究，想知道你是出于什么原因决定从油画专业跨到策展专业的？研究生阶段的学习对你的创作有何影响？

Your graduate major is design criticism and curatorial studies. I want to know why you decided to change from oil painting major to curatorial major. How did post-graduate study affect your creation?

刘诗阳：大部分艺术作品被创作出来后，最终都会走向展览的环节，而展示的方法、展览的空间都是很重要的，我希望能对艺术作品由创作出来到面对大众展示、流通的所以环节多一些学习和了解，这种学习会从另一个角度帮助到我的创作。2018年时了解到美院设计学院有策展的方向，经过和老师们的沟通就报考了。研究生阶段我首先对展览、策展的历史有学习和研究，其次会有很多参与策展和布展的实践机会，这些经历都会使我在思考问题的方式和角度上有些变化，同时这种大量策展案例的研究也会给创作的带来更广的维度。

Most artworks after being created, eventually go to exhibitions, and the way of displaying and exhibition space are very important. I hope I can learn more about other aspects of art besides creating them, including display and market circulation, which will help my creation from another angle. In 2018, I learned that Central Academy of Fine Art School of Design runs a curatorial course, and after communicating with the professors, I applied for it. At the post-graduate stage, I first studied the history of exhibitions and curating, and then I had many practical opportunities to participate in curating and setting up exhibitions. These experiences influenced my way of  thinking, and at the same time, the study of a large number of curatorial cases brought a wider perspective to my creation.

凤凰艺术：从本科到研究生阶段到毕业，你认为你的创作出现了什么变化？

What changes do you think have taken place in your creation from undergraduate to postgraduate to now?

刘诗阳：其实我从真正学习创作到现在差不多7年的时间，对于一个做纯艺术的人还是处于不断摸索的过程里，作品的形式稍有变化，但核心是不变的，就是我对艺术作品中物质性的探索，我觉得自己对普通的材料有比较敏锐的感受力，包括创作方法上的研究也始终在进行，这些实体上的变化不断推进着创作上的变化。

Actually, it's been almost seven years since I started to create, and I'm still in the process of continuous exploration. The form of my works has changed slightly, but the core remains unchanged, that is, my exploration of materiality in artworks. I feel that I have a keen sense of ordinary materials, including the research on creation methods, and these physical changes are constantly pushing forward the creative changes.

凤凰艺术：本次展览主题是段落，能谈谈你是如何理解本次展览主题以及你的作品与本次展览主题的连系吗？

The theme of this exhibition is “paragraph”. Can you talk about how you understand the theme of this exhibition and the connection between your works and the theme of this exhibition?

刘诗阳：其实这个词语的含义，就是取自我们平时写作的自然段，每一段文字之间有独立的开头，但又是承上启下互有衔接的关系。我将展览中的作品分为三个段落，也是对自己创作过程和作品面貌的一个总结和区分。

In fact, the meaning of this word is taken from the literal paragraphs we usually write. Each paragraph has an independent beginning, but it is a connecting link between the preceding and the following. I divide the works in the exhibition into three paragraphs, which is also a summary and distinction of my creative process and works.

凤凰艺术：你很多作品都是介于平面和雕塑之间的，这是出于一种怎样的考虑呢？你是怎样看待自己作品中的时间与空间的？

Many of your works are between paintings and sculptures. What kind of consideration is this? How do you view time and space in your works?

刘诗阳：我在创作的过程中有受到一些艺术家的影响，比如卢西奥·丰塔纳、格特哈德·格劳伯纳，并且我本科时没有选进雕塑系，但一直对做雕塑很感兴趣，很有热情，选了很多雕塑的选修课之后，开始在雕塑和绘画之间找一些平衡点。后来又了解到非定型艺术，我觉得可以以这个门类去概括我的作品，就自然的一直进行下去了。在这次个展段落二的阐释中我是这样写的：“在《32重》系列作品中，取‘重’字的多音多义，即重量、重复、多一重时间，数字32则对应的是比最长月份的天数31天，再多一天的意思，由艺术劳动的时间消耗和产出，从物质空间上将时间的围度再叠加一重。”我觉得这段文字使我对自己作品中时间与空间关系比较完整的总结。

I was influenced by some artists in the process of creation, such as Lucio Fontana and Gerhard Graubner. Although I didn't choose the sculpture department for my undergraduate study, but I was always interested and enthusiastic in making sculptures. After taking many elective courses in sculpture, I began to find some balance between sculpture and painting. Later, when I learned about amorphous art, I felt that I could summarize my works in this category, and it naturally went on. In the text of the second paragraph of this solo exhibition, I wrote this: "In the series of works of‘32 重’, the polysemy of the word '重' is taken, that is, weight, repetition and extra layer - time. The number 32 corresponds to the meaning of 32 days, one more day than the longest month. The time consumption and output of artistic labor will add one more layer upon the material." I think this passage makes a complete summary of my works.

凤凰艺术：最近在画什么创作作品？之后对自己的创作作品有什么规划？

What creative works are you painting recently? What plans do you have for your creative works after that?

刘诗阳：最近急需一种舒展的感觉，准备画一些尺幅稍大的作品，内容先不细说了，顺利的话希望明年能拿出来展览。创作上没有什么特别的规划，我前一段时间看了一个里希特的纪录片，挺感动的，他的一生伴随着很多大的历史事件，创作轨迹一直在变化，但是不论是他最出名的写实作品，还是近年来的抽象表现作品，什么样的作品面貌、外界什么评价都不妨碍他这一生的精彩，看他的经历让我觉得做艺术太幸福了，我愿意慢慢画下去，没有规划好不太成功也没关系。

Recently, I am going to draw some works with a slightly larger scale, so I won't elaborate on the contents. If it goes well, I hope I can show them next year. There is no special plan for creation. I watched a documentary by Gerhard Richter some time ago, which was quite touching. His life was accompanied by many big historical events, and his creation trajectory was constantly changing. However, whether it was his most famous realistic works or abstract works in recent years, the external evaluation did not hinder his wonderful life. Seeing his experience made me feel so happy to be an artist, and I would like to draw on it slowly. It’s alright whether I eventually become successful or not.

策展人张涛采访

凤凰艺术：你还记得与诗阳第一次见面的场景吗？你对她的第一印象是什么？

Do you still remember the first meeting with Shiyang? What was your first impression of her?

张涛：和刘诗阳的结识起因是今年春节后，艺术粮仓要参加2022年广州设计之春艺术与设计博览会，我们策划了《恢复的真相》抽象绘画为主题展览，其中邀请了尹思文参加，他推荐了刘诗阳，看作品认为蛮符合展览主题，就这样我们用微信把作品和展览相关内容顺利的做了落地。

第一次见面是在艺术粮仓草场地100号新的空间，因为疫情管控约了几次，才在今年三月中旬见面了，初次见面感觉像是老朋友一样，熟悉自然，真诚简单，关于合作和参加展览的事宜我们很聊的来。就这样开始了艺术粮仓与她的正式合作。

How I got to know Liu Shiyang traces back to the Spring Festival this year, Art Granary was going to participate in the 2022 Guangzhou Design Spring Art and Design Expo. We curated an abstract art exhibition with the theme of "The reality of recovery" , in which Yin Siwen was invited to participate. He recommended Liu Shiyang, and after viewing the works, I thought they were quite in line with the theme of the exhibition, so we successfully communicated about the artworks and related contents of the exhibition on WeChat without meeting in person.

凤凰艺术：今年三月份的时候诗阳也参加了你策划的一个展览【恢复的真相】，这次

的做诗阳个展的起因是什么？

In March of this year, Shiyang also participated in a group exhibition “The Reality of Recovery” curated by you. What was the cause of this solo exhibition of Shiyang?

张涛：艺术粮仓在艺术家邀约和合作上非常谨慎，通常是长远的角度来考虑同艺术家的合作，开始以联展的方式来带动，对作品，对作者本人和相互之间的合作进行阶段性的考察。时隔半年她的个展在艺术粮仓顺利开幕，在2022年这样的情形之下，无论什么情况，都无比难得。起因就是计划之内的计划一定要做了，不然又会怎样呢！

Art granary is very cautious in inviting and cooperating with artists, usually considering cooperation with artists from a long-term perspective, and starting to take the form of group exhibitions to conduct periodic inspections of works, the artists themselves and cooperation between them and the gallery. After half a year, her solo exhibition successfully opened in Art Granary. Under such circumstances in 2022, it is extremely not easy.

凤凰艺术：这次诗阳的个展，你是如何决定用"段落"作为展览的名称和展现方式的？

How did you decide to use "paragraph" as the name and presentation method of this solo exhibition of Shiyang?

张涛：段落是对作者在现阶段内的作品相对较为完整的梳理，展览名字很明确，对一段时期内做的内容和作品做一个总结和归纳，段落也意味着一个哲学层面的期许。

The paragraph is a relatively complete arrangement of the author's works for the last 6 years. The name of the exhibition is very clear, the content and the artworks done in certain period of time are summarized. The paragraph also means a philosophical expectation.

凤凰艺术：可以简单介绍一下这次展览的三个段落吗？这三个主题分别是怎样确定的呢？（抽象绘画、非定型艺术、新古典绘画）

Can you briefly introduce three paragraphs of this exhibition? How are these three themes determined? (Abstract painting, amorphous art, neoclassical painting)

张涛：第一阶段抽象绘画作品是在艺术家经历了较长一段时间的刻画和描摹之后，开始的关于抽象绘画的新尝试。抽象语言能够使人在创作中始终感受到绘画最初始的纯粹。第二阶段的非定型艺术作品，是在近五年创作中，艺术家选取石膏粉这一常见材料，用其创作，改变了石膏粉常为“附属品”出现的媒材特性。第三阶段，新古典主义绘画。这部分作品的图像来源多是艺术家在欧洲游学期间的摄影纪实。这个阶段的绘画再次出现具体的物像，绘画语言是比较克制冷静的。博物馆中的古典雕塑、时代感模糊的街景、任何很“小”的东西都可以成为绘画的主题。

The first stage of abstract painting is a new attempt of abstract painting after the artist has experienced a long period of figurative training. Abstract language can make people always feel the initial purity of painting in creation. In the second stage of the amorphous art works, in the past five years, the artist selected gypsum powder, a common material, and used it to create, which changed the characteristics of gypsum powder as an assistance. The third stage is neo-classical painting. The image sources of this part of works are mostly the documentary photography taken by the artist during her study tour in Europe. At this stage of painting, concrete images appear again, and the painting language is restrained and calm. Classical sculptures in museums, street scenes with vague sense of the times, anything very "small" can be the themes of paintings.

凤凰艺术：这次展览有哪些亮点？

What are the highlights of this exhibition?

张涛：我们依然坚持艺术粮仓以往的 认真 严谨 清晰的基本原则，每一个环节和展览的落地、推宣尽力所能。因为疫情管控，在这个时期能顺利开幕值得祝贺。

We still adhere to the basic principle of preciseness and clarity of Art Granary, and do our best to promote at every stage of the exhibition. Due to the Covid control, everything becomes difficult. It is cheerful that it has successfully opened.

凤凰艺术：诗阳研究生阶段学习的也是策展方向，在这次展览的策划中诗阳有参与吗？

Shiyang's postgraduate study is also the direction of curation. Did Shiyang participate in the planning of this exhibition?

张涛：这次她的个展，从她研究生的专业 也是一次理论与实践之间的除作品之外的发挥，对展览本身和现场布展方面有她自己想法，整体而言，携同的非常好。

This solo exhibition of the artist is a practical experience for her, as she majored in curatorial practice study in the post-graduate stage. She has her own ideas on the exhibition itself and the layout of the artworks. It has been very good collaboration with her.

凤凰艺术：你是如何看待诗阳这六年来艺术创作上的变化的？

What do you think of the changes in Shiyang's artistic creation in the past six years?

张涛：变化是在她这些年不断的研习 走访 临摹和创作思考上做出的最本能的反应所获得的结果，这是一个基本正常的现象，也是她的可贵之处，从刘诗阳的整体作品来解读这次展览的变化，就是她能直面对待、坦诚对待自己这些年来所有的不确定和未来之期。希望她能在艺术和生活上越来越好。

The change is precious, it’s the result of the most instinctive reaction made by her in these years' continuous study, visit, copying and creative thinking. To interpret the change of this exhibition from Liu Shiyang means that she can face up to her uncertainties. I wish her bright future in both art and life.

凤凰艺术：在这个后疫情时代，你认为这个展览能给观众或者其他青年艺术家带去哪些思考？

In this post-epidemic era, what thoughts do you think this exhibition can bring to the audience or other young artists?

张涛：疫情使一切都慢下来了，很多惯常的节奏被打断。希望这个展能为观众带来一个能安静体验和思考的现场。共鸣均需要同频同纬度的思考和碰撞，这个时代的青年艺术家们更多的需要阅历和思想深层的探索与践行，要有试错的勇气，练就未来和当下所窘迫忧患的能力和思考。

The pandemic slowed everything down, and many usual rhythms were interrupted. I hope this exhibition can produce a quiet experience for the audience to reflect. Resonance requires thinking and collision at the same frequency and latitude. Young artists in this era need more experience and in-depth exploration and practice, have the courage to tryout even make mistakes, and cultivate the ability to handle stressful situations.