春秋

北京市朝阳区酒仙桥798艺术区797路 颂艺术中心

SOUL ART(798), 797 Road, Jiuxianqiao798 Art District, Chaoyang District, Beijing

Fu Jingyan is an innate hunter of images, relying on his keen intuition for the form of things to uncover the inherent vitality of shapes. Just as Fu Jingyan turns landscapes into still lifes, still lifes into forms, and forms into shapes. The shapes are proud shapes, shapes under scrutiny, g Stare Straight for 2 Minutes, be stared at for 3 minutes, and become unfamiliar landscapes, landscapes with snowflakes, landscapes in motion, acrobatic landscapes, and turn into still lifes within the landscape. The subject and image in Fu Jingyan's artworks is imbued with metaphorical characteristics and a breath of speculation. The transformation from image to shape makes the generation of the work full of conceptual codes. A piece of wood and a stick, a stick made of wood, a piece of wood made into a stick, a piece of wood that is not a stick, a stick that is a piece of wood... Reincarnation sea, like the constant alternation of spring and autumn, the change of seasons, all things, useful or useless, is only a cycle. A breeze brushes the water surface, deep forest flowers and trees, weaving a dense symphony, all white flowers, wild chicken crowns, field whirligigs, hundred-leaf grass... In May in Shenyang, the light rain is just right, falling on the body, besides home and the studio, Fu Jingyan likes this suburban park, the daily routine of a straight line, wandering on the edge of the city all year round, the place for collecting materials, and wild feces among the hundred flowers. Creating in life, living in creation, these two activities are sometimes incompatible, sometimes converge, and these two activities will also transform towards each other, the shadow of the display, the life in the shadow. The translation of images, the basic form and the found objects, together constitute the cause of the artist's consciousness shape. A rabbit running like a gyroscope, three or five, just standing, staring or being stared at. Draw the arc, the reality of the situation, escape from the surrounding environment. Fu Jingyan's Conceptual Metaphor and Painting Language Spring and Autumn

By Dai Zhuoqun

The folded right angle, square and triangle, the various elements inside and outside are rough, have the shape of real things, not just shapes, that shape is closely related to the specific form. Various shapes and images, convincingly fit on a square plane. Fu Jingyan's artworks are full of conceptual metaphors and the Painting Language Spring and Autumn. Twigs, plastic, bones, copper wire, hair, plywood... These finds, ready-made objects, marginal, often overlooked objects, are carefully picked up and arranged by the artist to become meaningful objects, objects as subjects. There is no intention to eliminate the orthodox physical position of painting and sculpture, a painting, a sculpture, that is, an entity, an object. A bunch of flames and a basin of flowers and plants; the spring and autumn of locusts gnawing on grass leaves; a ruler folded into a triangle like a snail; various circles, are they apples, grapes, pineapples? Are they patterns in the wings of moths, women's buns; landscapes with snowflake beer font; rabbits draw a trace with the word "perfect" on the snow; human legs fold into a square, and mantis legs fold into a triangle; circular curled snails and circular curled rabbits and circular curled fruits; vases and roosters with a proud momentum; restricted forms are also free forms, restriction and freedom are often two sides of the same coin. Fu Jingyan's Painting Language Spring and Autumn is a rhetorical pun, "among the hundred flowers" and "with wild feces", vividly expressing the artist's attitude, intention, and the appropriate praise and criticism. The most common images in Fu Jingyan's painting, such as "rabbits", "turtles", "chickens" and several hidden or apparent images, are also the carriers of the artist's conceptual metaphors, an excuse, a symbol of an object that has become concrete. When we focus on watching, and even listen, the images in the picture, one by one, vividly become the image of the artist himself, the position in the picture, the trajectory of movement, the transformation of the body, vividly showing a person's fresh, sensitive life perception.