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LEARNING AND EXPERIENCE
感悟與經驗

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Shoran Jiang was born in 1982 in Tianjin and in 2005 she obtained a bachelor’s degree in Department of Oriental Art, Nankai University, two years later she got her first master degree of Oriental Art in Nankai University. After that, she came to London and studied and gained another master degree in Fine Art from Chelsea College of Art and Design of University of the Arts London. Now, she lives and works in London.

 姜嘯然,1983年生於天津,2005年在南開大學東方藝術系獲得學士學位,2007年獲得南開大學東方藝術系碩士學位,2009年獲得英國倫敦藝術大學純藝術碩士學位,現定居倫敦。

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As for Shoran Jiang, every piece of her artworks is inspired from her experience of life.

Same as that of the traditional Chinese thinking, the emphasis of Chinese painting is on the belief that moderation is the balance, not in pursuit of excessiveness. The characteristic of steadiness similar to the long-lasting flowing stream water acquires Chinese painting a quieter quality. This is the education of painting that Shoran has received in China. Since Shoran settles down in London, life and emotional changes has to some extent stimulated her creation of arts. Her past painting experience of blindly seeking moderation has come cross great changes at this time. She puts her life experience into her artworks.

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In China, she was given academic education of Chinese traditional techniques, painting compositions and aesthetics. However London has opened up her vision. She has also been influenced by western female artists, such as Frida Kahlo, Leonor Fini and Tracy Emin. These women artists create artworks with profound personal will and life experience. The way they are not intent to follow the rules to express themselves has greatly affected Shoran.

 Then she chooses the women’s perspective, the theme of suicide, for further studies and experiments. Western critics commented, “ If Shoran’s works are only viewed from the origin of the oriental culture, there will be a foreseeable mistake to derive a narrative conclusion. The way and the sophistication she reveals to us is somewhere else, some other world, or rather an entire world.” In my opinion, “the somewhere else, the some other world” Shoran is revealing is her inner world, her actual experience towards the cruelty of life, the experience that women in the world have in common.

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對於姜嘯然來,每一幅作品都是她對於生活生命的體悟。

中國畫如同中國傳統的思想一樣,講究的是中庸是平衡,它所追求的不是刺激。這種如細水長流的質感,使得中國畫具有更安靜的特質。而這些,正是姜嘯然在中國所接受的繪畫教育。在來到倫敦之後,生活的變化,情感的變故,從某種程度上刺激了她的作品。她原來那些一味求平和的繪畫經驗,在這個時候發生了很大的變化。她把對於生活的體驗加進了自己的作品當中。

 

在中國,她所接受的是中國傳統的技法、繪畫構圖和審美美學的學院教育。而到了倫敦之後,她的眼界打開了,她也受到了西方如弗里達·卡羅(Frida Kahlo)、 萊昂諾爾·菲尼(Leonor Fini)和崔西·艾敏(Tracy Emin)這些女性藝術家的影響。這些女性藝術家的作品具有強烈的個人意志與生活體驗,她們的不按規則出牌的表達方式深深觸動了嘯然。

於是,她選擇了女性這一視角,選擇了自殺這一主題,深入挖掘。西方評論家如是這裡有一個可被預見的錯誤,就是如果單從東方文化的起源,來看待嘯然的作品,而得出一個敘事性的結論。她展現給我們的,那種方式,那種詳盡,是別的地方,別的世界,或者是全世界。在筆者看來,嘯然所展現的別的地方,別的世界正是她的心世界,正是她對於殘酷生活真真實實的體驗,而這種體驗亦可是全世界共有的女人的體悟。

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CONCEPTS AND OUTCOMES

The foremost importance of contemporary art is concept. Among the concepts that are being experimented by various contemporary artists, some probably will become more and more prominent in the course of history, whilst some will likely be forgotten as guinea pigs. The artists having been remembered seem to be avant-garde, even not being accepted by the general public at the time. But it is exactly their bold and advanced concepts that make their works more and more valuable along with the time passing by.

For the present creation, Shoran has been through in-depth thinking, and at the same time she has come cross some changes. Her concepts are seen bold or advanced. She acknowledges that improvement of her works remains needed, and she has a long way ahead. Ten years of learning and experience on the way of pursuing arts has made Shoran become more modest and prudent. She does not expect her artworks would be accepted by the general public. Now she is concentrating on her own creativity, on accumulating experience, cultivating and improving her concepts and skills.

Shoran has the advantage of her learning and understanding of Chinese culture, and in the meantime, she receives the influence of Western arts. The works she creates while being in London lie in a high standard level, as they are the outcomes based on the world excellence of arts, and the combinations of the creativity out of Chinese and Western cultural thinking. Of Shoran’s works, Chinese and western art critics hold their own different interpretations, but enormous compliments are paid on the material, form, content and concept that are being applied. Chinese art critics commented, “While containing the Eastern and Western concepts, it is such a broad viewpoint and tender empowerment to stand from the point of female suicide for further experiments and studies”. And western critics expressed, “This form of artworks is marvellous. No one could ever foresee what kind of greater dimension and in-dept thinking this theme is going to lead Shoran to in the future. ”

Indeed, where will Shoran’s concept of theme in life, living, humanity, and pain bring her to in the course of her art creation in the future? When she becomes more and more mature in her pursuit of art, what kind of vast space will her thoughts and exploration of the theme lead her to? Let us be patient and look forward to it.

觀念與結果

當代藝術最重要的就是觀念,這種在當代被各個藝術家所實踐

的觀念,有些也許在歷史的長河中會越發閃亮耀眼,而有些也許會成為了那些被人淡忘的實驗品。那些被人們記住的藝術家,在當時看來,是前衛的,甚至是不被大眾所接受的。但是正是他們大膽超前的觀念,使得他們的作品隨著時間的推移而越發珍貴。

 對於現在創作,姜嘯然是經過深思熟慮,也是幾經變化。她的觀念可以是大膽,或是超前。她也深知,自己的作品還需要不斷的完善,今後的道路還很長。在藝術道路上,十幾年的學習與歷練,讓嘯然變得更加謙虛謹慎。她並沒有想著自己的作品會被大眾所接受,現在就是專心創作,積累,磨練,完善。

 嘯然的優勢在於,她對中國文化的研習與理解,同時她在西方也接受了西方藝術的熏陶與衝擊,她來倫敦之後的作品,是站在一個很高的平台上,接觸到了全世界優秀藝術的基礎上,結合了中西文化思想的背景之下創作出來的。對於她的作品,中西方藝術評論家雖有著自己不同的解讀,但是對於其材質、形式、容以及觀念,都是大加讚許。中國藝術評論家認為以女性自殺為原點蔓延衍伸,視野之開闊,心襟之慈憫,囊括了中西方的理念。而西方藝評人認為這些作品的形式非常好,而在今後,誰知道這個主題將會引領嘯然到何種的更大的空間,何等的深入的想法。

 確實,姜嘯然的這個關於人生、人性、生命、傷痕的觀念主題,將會在今後的藝術創作中將她引向何等空間?在她越來越成熟的藝術道路上,她對於這些主題的思考與探索,將會將她引向何等廣闊之天地?我們拭目以待。

                   

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