《三原色》抽象艺术三人展

《三原色》抽象艺术三人展

"Primary Colors″ Tri-Artist Abstract Art Exhibition

艺术家：武妍希、王晓蓉、张容

Artists: Wu Yanxi, Wang Xiaorong, Zhang Rong

策展人：杨卫

Curator：Yang Wei

主办单位：北艺塘美术馆

Organizer：BeiYiTang Art Gallery

开幕：2025年3月29日下午15:00

Opening Ceremony: 15:00pm 29/03/2025

展期：2025年3月29日 — 4月12日

Duration：29/03-12/04/2025

地点：北京市通州区宋庄小堡北塘艺术区

Address: Beitang Art Zone, Xiaopu, Songzhuang, Tongzhou District, Beijing

关于“三原色”画展

文/杨卫

我以“三原色”来命名武妍希、王晓蓉和张容的画展，包含了几层意思：其一，这个展览为她们三个人的联展，“三原色”即代表了武妍希、王晓蓉和张容这三位艺术家；其二，这三位艺术家均为女性，相比男性艺术家更显著的社会属性，即热衷于表现社会和政治等题材，女性艺术家则更加关注自我，所以，“三原色”也是反映了这三位女性艺术家的生命底色；其三，也是更为重要的一点，就是这三位艺术家的作品都是抽象艺术，而且是偏向于冷抽象，因而，原色更接近于她们的作品，也是她们努力追求的方向。总之，以“三原色”来概括这个展览，既表明了这个联展的特色，同时也揭示出了她们作品的内涵。

《曼荼罗13》布面油画 ，直径150cm

Oil on Canvas Φ150cm 2023

《心光6》布面油画，直径100cm

Oil on Canvas Φ100cm 2019

武妍希是较早从事抽象画探索的女性艺术家。从最初对抽象形态的迷恋，到对材料本身的发现和挖掘，武妍希在抽象画领域经历了若干次蜕变。事实上，在世界抽象艺术的历史上，也经历了从抽象形式到材料本体的转换，即由外到内的发展。武妍希正是沿着这样一个探索轨迹，从之前对天象和文化的关注，即表现节气、反映宗教题材等，而转向了对心象的挖掘。这一转变驱使武妍希着眼于材料本身的实验，从而将通体透明的材料，与自己清澈如镜的心性达成某种默契，实现其神形合一的同时，完成了自我与作品之间的同心圆。

《时间的秩序六》布面综合材料，120x100cm

fabric composite material 120x100cm 2021

《幻相之九》布面综合材料，80x60cm

fabric composite material 80x60cm 2023

王晓蓉的抽象作品同样注重于材料探索。但与武妍希不同的是，王晓蓉的抽象作品中，材料的显现仍是为了造型服务。也就是说，她热衷于抽象的造型，材料不过是为其抽象造型增添文化含量，凸显画面质感而已。因此，王晓蓉选择了最具东方文化神韵的宣纸作为语言，通过裁减、撕扯、火烧等手段将其破坏，以此来隐喻传统文化的分崩离析与当代人的生存处境；同时，她又将这些残缺不全的纸片，加以并置与重叠，并通过五颜六色进行渲染，从而在支离破碎的纸屑之中，孕育出一个崭新的美学生命，由此来完成自我从传统到当代的观念转型与精神蜕变。

《蓝色的隐喻》布面油画，150x200cm

Oil on Canvas 150x200cm 2021

《缪斯女神》布面油画，90x60cm

Oil on Canvas 90x60cm 2021

相比而言，张容的抽象作品更具画意。也就是说，她更加注重绘画过程留下的心象痕迹。从语言层面来看，张容对“线”的运用情有独钟。据说，这源于她最初的绘画经验，即她是在父亲的制图纸、效果图上开始最初的涂鸦，因而，制图纸密密匝匝的网格、数字、符号和精密仪器效果图靛蓝色的印痕，深刻在了她的童年记忆。如果以弗洛伊德的精神分析学来分析张容的抽象作品，即可以看到她的清真返一之途。正是这种美学上的溯本求源，使张容的绘画与中国传统绘画之间找到了异曲同工之妙。因为从书法脱胎出来的传统中国画，其灵魂就是线。不过，传统中国画的线，虽然起承转合、千变万化，但仍是服务于造型。这使得线的自由意识与心性表达，打了不少折扣。张容清楚地看到了这一点，故而，她将线从造型意识中独立出来，与画面中的色块互为表里，形成有机融合与矛盾冲撞，亦是为了将线从传统的束缚中解放出来，通过抽象语言插上自由自在飞翔的翅膀。

纵观三位艺术家的抽象作品，虽然各有千秋，但有一个共同的特质，那就是通过语言的不断纯化，都在试图返本开新。因此，以“三原色”来命名她们的作品，既是她们的返本之旅，也是她们的开新之道。

2025.3.8于北京通州

The "Three Primary Colors" Exhibition

By Yang Wei

I have named the joint exhibition of Wu Yanxi, Wang Xiaorong, and Zhang Rong as "Three Primary Colors", which encompasses several meanings. Firstly, this exhibition is a group show featuring these three artists, with "Three Primary Colors" symbolizing Wu Yanxi, Wang Xiaorong, and Zhang Rong. Secondly, as female artists, they tend to focus more on self-expression compared to their male counterparts who often delve into social and political themes. Thus, "Three Primary Colors" also reflects the life essence of these three female artists. Lastly, and most importantly, all three artists work in abstract art, leaning towards cool abstraction. Therefore, primary colors are closer to their works and represent the direction they strive for. In summary, "Three Primary Colors" not only summarizes the characteristics of this group exhibition but also reveals the connotation of their works.

《度母7》布面油画

Oil on Canvas Φ120cm 2019

Wu Yanxi is one of the female artists who ventured into abstract painting relatively early. She has undergone several transformations in the field of abstract art, from her initial fascination with abstract forms to her exploration of materials themselves. In fact, the history of abstract art worldwide has also witnessed a shift from abstract forms to the essence of materials, a development from the external to the internal. Following this exploratory trajectory, Wu Yanxi has shifted her focus from depicting celestial phenomena and cultural themes, such as seasons and religious subjects, to exploring inner imagery. This transition has driven her to experiment with materials, achieving a harmony between the transparent materials and her clear, mirror-like disposition, thus completing a concentric circle between herself and her works.

《重叠之相三》布面综合材料

fabric composite material100x80cm 2019

Wang Xiaorong's abstract works also emphasize material exploration. However, unlike Wu Yanxi, the manifestation of materials in Wang Xiaorong's works still serves the purpose of shaping. That is, she is passionate about abstract forms, with materials merely adding cultural depth and enhancing the texture of the paintings. Therefore, she has chosen Xuan paper, which carries the charm of Eastern culture, as her medium. By cutting, tearing, and burning the paper, she metaphorically represents the disintegration of traditional culture and the living conditions of contemporary individuals. Simultaneously, she juxtaposes and overlaps these fragmented pieces of paper, coloring them with a variety of hues, thereby nurturing a new aesthetic life amidst the shattered paper scraps. This process marks her conceptual transformation and spiritual metamorphosis from tradition to contemporary times.

《梅花三弄》布面油画

Oil on Canvas60x80cm 2021

In comparison, Zhang Rong's abstract works exhibit a stronger sense of painting. She pays greater attention to the traces of inner imagery left during the painting process. From a linguistic perspective, Zhang Rong has a special affection for using "lines". Reportedly, this stems from her early painting experiences, where she began doodling on her father's drafting papers and design sketches. The densely packed grids, numbers, symbols, and the indigo blue marks of precision instrument renderings from her childhood have left a profound impression on her. If we analyze Zhang Rong's abstract works through the lens of Freud's psychoanalysis, we can see her journey towards simplicity and unity. It is this aesthetic trace back to the origins that has allowed Zhang Rong's paintings to find a resonance with traditional Chinese paintings. Because traditional Chinese paintings, which evolved from calligraphy, revolve around the soul of lines. However, while the lines in traditional Chinese paintings undergo various changes and transitions, they still serve the purpose of shaping, limiting the free expression of lines and emotions. Zhang Rong recognizes this limitation and thus liberates lines from their shaping consciousness, allowing them to form an organic fusion and conflicting collision with the color blocks in the painting. This approach aims to free lines from traditional constraints and enable them to soar freely through abstract language.

Upon examining the abstract works of these three artists, although each has its unique charm, they share a common trait: through the continuous purification of language, they all attempt to return to the origins and innovate. Therefore, naming their works "Three Primary Colors" represents both their journey back to the basics and their path towards innovation.

March 8, 2025, Tongzhou, Beijing

杨卫Yang Wei

独立策展人、著名艺术批评家

湖南师范大学美术学院教授、现当代艺术研究中心主任，同时担任中国美术批评家年会秘书长。为中国美术家协会策展委员会委员、清华大学艺术博物馆策展委员会委员、江西美术馆学术委员会委员、广州艺术博物馆和广州美术馆学术委员会委员、湖南美仑美术馆学术委员，天津美术学院、吉林艺术学院、景德镇陶瓷大学等多所高校客座教授。历年来策划展览近百个，出版著作十余本。

Professor at the Academy of Fine Arts of Hunan Normal University, Director of the Research Center for Modern and Contemporary Art, and concurrently serving as the Secretary-General of the Annual Conference of Chinese Art Critics. He is a member of the Curatorial Committee of the China Artists Association, the Curatorial Committee of the Tsinghua University Art Museum, the Academic Committee of the Jiangxi Art Museum, the Academic Committee of the Guangzhou Art Museum and the Guangzhou Museum of Art, and the Academic Committee of the Hunan Meilun Art Museum. He is also a visiting professor at several institutions including the Tianjin Academy of Fine Arts, Jilin College of the Arts, and Jingdezhen Ceramic University. Over the years, he has curated nearly a hundred exhibitions and published more than ten books.

武妍希WU Yanxi

艺术家

武妍希，籍贯云南昆明。出身于艺术世家，父亲和叔父均毕业于四川美术学院。曾就读于昆明纺织工业学校和中央工艺美术学院。2001年首次举办个人画展，曾在国内外举办十余次个展，参加数十个群展，作品被众多国内外机构及个人收藏。2010年到北京宋庄建立个人工作室以来，一直致力于新绘画的探索。作品以圆形为形式依托，用西方油画媒材传达东方哲思精神，表达“其大无外、其小无内”的精神内核，并充分体现“万物一体”的整体性概念。创作出极具个性化的，充满内在力量的绘画作品。

WU Yanxi was born into an artistic family in Kunming, Yunnan. Her father and uncle both graduated from Sichuan Fine Arts Institute. She graduated from Kunming Textile Industry School and Central Academy of Craft Art in Beijing. In 2001, she held her first solo exhibition. She has held nine solo exhibitions at home and abroad and participated in dozens of group exhibitions. Her artworks have been collected by many domestic and foreign institutions and individuals. In 2010, she set up a studio in Song Zhuang Art Zone and started to explore new painting mediums. She uses the round shape as the carrier and the western oil painting materials as the medium to express eastern philosophical spirit and the spiritual core of “the big is not outside, the small is not inside”. so that the integrity conception of “all things are one” is fully expressed. She creates many paintings with obvious personal style and inner power.

王晓蓉Wang Xiaorong

艺术家

王晓蓉，籍贯陕西榆林，先后毕业于西安美院、中国艺术研究院·俄罗斯著名美术家工作室。陕西省美协会员，纽约哈德逊美术家协会会员，世界和平艺术家联盟会员,法国国际艺术家与设计师协会成员，陕西榆林市艺术馆研究员。致力于艺术材料的延伸和研究，曾做过多次个展，在国内、美国、英国、日本等地参加多次展览。作品在国内外艺术机构及个人均有收藏。

Wang Xiaorong graduated from Xi'an Academy of Fine Arts and China Academy of Art · Famous Russian Artist Studio in Yulin, Shaanxi. Member of Shaanxi Artists Association, member of Hudson Artists Association in New York, member of World Peace Artists Alliance, member of French International Artists and Designers Association, and researcher at Yulin Art Museum in Shaanxi Province. Dedicated to the extension and research of artistic materials, the works have been exhibited multiple times and have participated in numerous exhibitions in China, the United States, the United Kingdom, Japan, and other places. The works are collected by art institutions and individuals both domestically and internationally.

张容Zhang Rong
艺术家

张容，籍贯四川绵阳，2003年本科毕业于四川美术学院；首都师范大学美术学院表现性工作室艺术硕士；现生活工作于北京。借助线条重新塑造理想世界中关于“我的认知和理解”，实现了“我的绘画”。其作品多次参加国内外各种展览，上拍中国保利拍卖，被各地美术馆、艺术机构和个人收藏。

Zhang Rong，Born in Mianyang, Sichuan Province, graduated with a bachelor's degree from Sichuan Fine Arts Institute in 2003; obtained a master's degree in art from the Performance Studio of the Academy of Fine Arts, Capital Normal University; currently lives and works in Beijing. Through lines, she reshapes her "cognition and understanding" of the ideal world, realizing her "painting". her works have participated in various exhibitions both domestically and internationally, been auctioned by China Poly Auction, and collected by art museums, art institutions, and individuals worldwide.

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