张尚丰
简介Biography
张尚丰（ZHANG Shangfeng），当代艺术家。2025年5月17日至6月15日，其个展“现代神话修辞术”在伯年艺术空间举办，由杨西担任策展人。该展览聚焦艺术家近年来的绘画创作，呈现其如何通过自述式的图像语言，在现实与虚构之间架构一种属于当下的“现代神话故事”。张尚丰笔下的“人物”并非史诗中的英雄，而是处在生活裂缝、时间缝隙中的“普通人”，他将现实中被忽略的、没有情节的煎熬与内耗转化为创作的情绪根源。在图像建构上，他采用“现代神话修辞术”作为姿态与策略，将“自我”转译为陌生化的“他者”。其画面中，近似的形象被反复涂抹、变形，丙烯与油彩的结合带来断裂、渗透与粘滞的时间质感，以及介于完成与未完成之间的“停滞感”，指向失语、滞留、孤独与不确定。张尚丰自述，他并非在画自画像或描绘某个具体存在的人，而是塑造一些“现代神话里卡在故事中途的角色”，他们低头、回避、沉默，像被困在情绪和身体里的回声。
ZHANG Shangfeng is a contemporary artist. From May 17 to June 15, 2025, his solo exhibition “The Rhetoric of Modern Myth” was held at Bonian Art Space, curated by Yang Xi. The exhibition centred on the artist’s recent paintings, presenting how he constructs a contemporary “modern mythological tale” between reality and fiction through a self-narrative pictorial language. The “figures” in Zhang Shangfeng’s work are not epic heroes, but “ordinary people” caught in the fissures of life, in the gaps of time; he transforms the unnoticed, plotless torment and internal exhaustion of reality into the emotional wellspring of his practice. In his image-making, he adopts “the rhetoric of modern myth” as both posture and strategy, translating the “self” into an estranged “other.” In his paintings, similar forms are repeatedly painted over and distorted; the combination of acrylic and oil paint yields a temporal texture of rupture, permeation and viscosity, and a “sense of suspension” hovering between the finished and the unfinished, gesturing towards aphasia, stagnation, loneliness and uncertainty. Zhang Shangfeng states that he is not painting self-portraits or depicting any particular, existing person, but rather shaping “characters stuck midway through a modern myth,” figures who bow their heads, avert their gaze, and remain silent, like echoes trapped within emotion and the body.
代表作Selected Works
展览履历Exhibitions
- 2026海上计划 第二回：洄游上海圣佳艺术空间
- 2025现代神话修辞术伯年艺术空间
艺见洞察ArtMatters Insights
代表作与创作Selected Works & Style
根据平台档案，张尚丰的代表作与创作特点如下：
**代表作**
《无声令人惊慌》《等待特洛伊》《午后的疑虑》《绿衣男》等（均为2025年创作的布面油画或亚麻布丙烯作品）。
**创作特点**
张尚丰的创作核心是通过自述式图像语言构建“现代神话修辞术”。他笔下的人物并非英雄史诗的主角，而是被现实忽略、困于生活缝隙中的普通人。这些角色常常呈现低头、回避、沉默的姿态，像“现代神话里卡在故事中途的角色”，承载着失语、滞留与孤独的情绪。
在视觉手法上，他刻意追求一种介于完成与未完成之间的“停滞感”：画中形象被反复涂抹变形，丙烯与油彩的结合带来断裂、渗透、粘滞的时间质感。他并非描绘某个具体存在的人，而是将自我转译为陌生化的“他者”——近似的人物面目被反复覆盖、修改，指向一种普遍存在于当代人内心的熬与内耗。
如需上述代表作近年来的市场成交纪录，我可以继续为您整理。
ZHANG Shangfeng is a contemporary artist whose practice revolves around constructing a personal “modern mythology” through painting. His representative works include *Silence is Alarming* (2025, oil on canvas), *Waiting for Troy* (2025, oil on linen), *Afternoon Misgivings* (2025, acrylic on linen), *The Green-Clad Man* (2025, oil on linen), *The Second Face of Night* (2026, oil on canvas), and *At the Center of a Calm Life* (2026, oil on canvas).
His creative style is marked by an introspective, image‑based narrative that blurs the line between reality and fiction. The figures he paints are not mythic heroes but ordinary individuals caught in the cracks of daily life—silent, evasive, and seemingly stuck in the middle of an unfinished story. By applying what he calls a “rhetoric of modern mythology,” he translates the self into a defamiliarized “other,” repeatedly reworking and distorting similar faces and forms. The combination of acrylic and oil paint generates fractured, permeating surfaces with a viscous sense of time, leaving the works in a state of suspension between completion and incompletion. This approach gives visual form to feelings of aphasia, stasis, loneliness, and uncertainty, turning overlooked inner turmoil into the emotional core of his canvases.
展览与收藏Exhibitions & Collections
根据平台现有艺术家档案，张尚丰曾于以下机构展出：
- **伯年艺术空间**（2025 年个展「现代神话修辞术」）
- **上海圣佳艺术空间**（2026 年群展「海上计划 第二回：洄游」）
关于**机构收藏**，目前档案中暂无公开记录，未能查到其作品被哪些机构正式收藏。
Based on the artist profile data:
**ZHANG Shangfeng** has exhibited at:
- **Bonian Art Space** (伯年艺术空间) in 2025, with the solo exhibition *Modern Mythological Rhetoric* (现代神话修辞术).
- **Shanghai Sungari Art Space** (上海圣佳艺术空间) in 2026, as part of the group exhibition *The Maritime Project II: Migration* (海上计划 第二回：洄游).
The profile does not list any institutional collections of his work. No collection information is available.
