给予

本次展览将延续了刘聪“纸”的系列，艺术家借用“纸”的形象作为视觉的载体，在画面中通过节奏秩序的排列、和色彩的微妙变化，传递一种情感和精神性的氛围。视线划过表面，恰到好处的平滑不至于锋利，轻盈的反射、微妙的光感，摇摆于虚实之间。有限的几何语汇搭建出严谨的视觉结构，起伏的色彩节奏是近乎精确的感性尺度。褶子1 在画廊空间内无限延展，“折叠、展开、再折叠

（folds, unfolds, refolds）” 2 在这里，手势和意念的重量悄然失效。这是“一”，也是“多”，是此时此地遭际的现象世界，亦是无穷迭代，是界限消除。通过色彩、线条和几何形状等微小的变量调整，刘聪的绘画在不断的校准和淬炼中，追求语言的精确表达。在差异与重复中，他以更深刻和精确的方式观看和思考周围世界的联系和结构，在形而下的操作中试图抵达一种精神性和沉思性的观看体验。在纸系列的作品中，艺术家使用了他称之为“草图”的纸制模型。模型的引入仿佛一个观念与现实的转换通道，以及创造性心理空间的入口。他切换于模型的三维现实和绘画语言的感性判断之间，使一种更为纯粹的抽象性表达成为可能。这是刘聪近期创作中发生的一个转变。在长期投入的绘画实践中，艺术家体悟到自身与艺术之间相互给予的一种生命关系。展览题目“给予”和作品之间平行构置出一种光晕，“给予“亦是一个现实，一种连接，它提示艺术是一种关于相遇与精神连接的开放性美学创造，一个在有限矛盾和无限多样性之间完成自我的旅程，亦如画布上稳固的图像结构，往往同时处于开放而永久流动的状态。

1&2.《褶子：莱布尼茨和巴洛克风格》，吉尔·德勒兹，1988 年

The exhibition extends Liu Cong's "Paper" series, in which the image of "paper" serves as the visual vehicle, conveying an emotional and spiritual vibe through measured cadence and subtle color variations. The gaze crosses the surface in a properly smooth fashion, without being too sharp. Lightsome reflections and subtle sense of light swing between reality and illusion. Limited geometric vocabulary builds a rigorous visual structure, while the fluctuating rhythm of colors serves as an aesthetic measure that is nearly precise. The fold 1 extends infinitely in the gallery space, "folds, unfolds, refolds" 2. In this space, the weight of gesture and mind fails stealthily. It is the One, it is also the Multiple. It is the phenomenal world of the current moment and location, the infinite iteration, the elimination of boundaries.

Through the adjustment of minute variables such as colors, lines and geometric shapes, Liu Cong's painting, with constant calibration and refinement, pursues an accurate expression. By differentiating and repeating, he views and contemplates the connections and structures of the world around him in a more profound and precise way, trying to reach a spiritual and contemplative viewing experience through physical operations. In the Paper Series, the artist uses paper models that he calls

"sketches". He introduces the models as though it is a channel of transition between concept and reality, and an entrance to a creative mental space. Switching between the three-dimensional reality of the model and the aesthetic judgment of the language of painting, he makes possible an abstract expression that is even purer. This is a shift in Liu Cong's recent work.

In his long-term dedication to painting, the artist has realized the existence of a symbiotic relationship between himself and art, which can be defined as mutual giving. An aura is generated through the juxtaposition of the exhibition's title "Given" and the works being exhibited. "Given" is also a reality, and a connection. It suggests that art is an open aesthetic creation about encounter and spiritual connection, and a journey of self-fulfillment between finite contradictions and infinite diversity. It is just like the solid structure of image on canvas, which often remains a state of openness and permanent flow at the same time.

1&2 Deleuze, Gilles. The Fold: Leibniz and the Baroque. 1988.