相逆与意识 ——崔志鹏的画

The other side of the silent man-2020-Oil on board-27×35cm

崔志鹏画树有一段时间了，他没有一开始就画树。艺术家庭、考前集训、大学学习，这是所有艺术生成为艺术家的基本道路，但专业的技术魅力也常让人沉浸其中难以自拔，对比之下更能感受到崔志鹏坚持这样画树的可贵之处。崔志鹏画树的方法像一个没有艺术基础的爱好者，甚至用传统绘画专业的眼光审视，这些树更像来自一个未经专业训练的人的“乱画”。这可以追溯到现代主义先驱式的创作思考，舍弃扎实的绘画技术，找寻内心的直觉与感受，这或许与大学时期崔志鹏在学校所感受的“自由”有关，这种感受进而转化为在艺术创作中塑造自我的心理需求。正如崔志鹏所说：“我更倾向于内心深处的散漫，不费尽心机，能够自如的欣赏生活，这种本身的心灵使我快乐，至于额外的艺术创作是我调侃自己属于物质世界里的现象，当然不包括我全部的面貌。”

崔志鹏的树很容易让人联想英国艺术家吉迪恩•鲁宾的作品中对人物面部的平面化处理——即将本可具象化的人物的面部处理成空洞的白色，画面中的树和人相似，本可处理成千差万别的具象图像，但画家却采用一种消失的主题方式，让画面的树、人脸成为一种统一化的单音节或一个固定的符号，唯一变化的是被赋予场景与气息。与吉迪恩•鲁宾在人物面部使用白色处理不同，崔志鹏的树无一例外地使用黑色——一种充满能量的颜色来表现，让画面充斥未被曝光的遮蔽感。如果在屏幕上单看这些作品，它们更像是同质化的画面，如同我们所处屏幕时代的视觉，充满荒诞和意味，的确，在当下的图像时代，绘画早已不是图像生产的主要媒介，而人们评价图像的标准就是流量，图像成为让媒介获取流量的工具，观众更注重图像的新奇、刺激以及故事，这种在流量评价体系中催生的窄化的标准让图像呈现出的状态也日益趋同，阅读者的个体感受被席卷而来的时代洪流淹没……此时的图像生产大多趋于实用性和工业性，这显然是崔志鹏反对和试图反抗的。

Grey red sky-2019-Oil on Canvas-40x60cm

Contradiction&Consciousness——Cui Zhipeng’s Paintings
Lan Qingwei

Watching Cui Zhipeng's interview video, I was deeply impressed by the painter who is always smiling. In the face of the interview,he didn't show off knowledge, but told them more about his intuition and feelings. It is easy to watch Cui Zhipeng's paintings, but not easy to read them. However, those who have seen Cui zhipeng's works will inevitably ask, "Why do you draw like this?" Cui zhipeng's answer is as simple and clear as his smile: It is comfortable to draw like this.

Cui Zhipeng has painted trees for a while, and he did not paint trees at the very beginning. Art family, pre-exam intensive training and university study are the basic paths for all art students to become artists. However, the charm of professional technology often makes people immersed in it and unable to pull themselves out. In contrast, we can feel the value of Cui Zhipeng's insistence on painting trees like this. Cui zhipeng's method of painting trees is like that of a hobbyist with no foundation in art. Even viewed from the perspective of a traditional painting professional, the trees are more like "graffiti" from an untrained person. This can be traced back to the pioneering creative thinking of modernism, abandoning solid painting techniques to find inner intuition and feelings, which may be related to the "freedom" cui Zhipeng felt in college, and this feeling was then transformed into the psychological needs of shaping himself in artistic creation. Just as Cui Zhipeng said, "I prefer to be carefree in my inner heart. I can appreciate life freely without any pains, which makes me happy. As for the additional artistic creation, I make fun of the phenomenon that I belong to the material world, which does not include all my features."

On the plain-2020-Oil on Canvas-30x40cm

Cui Zhipeng tree is easy to evoke the British artist Gideon rubin's work in the face of complanation handle - is this the character's facial treatment of the way into an empty white, the tree with the people in the picture are similar, this can handle into different figurative images, but the painter USES a way of disappearing theme, The trees and faces in the picture become a unified monosyllable or a fixed symbol, and the only change is that the scene and breath are given. Unlike Gideon Rubin, who used white on the faces of his figures, Cui zhipeng's trees invariably use black -- an energetic color that fills the image with a sense of unexposed shade. If looking at these works on the screen, they're more like homogeneity, as we are in the screen of the era of vision, full of absurd and, indeed, in the present era of images, painting is not the main medium of image production already, and evaluation criteria of the image is the flow of people, the image become let medium traffic tools, The audience pays more attention to the novelty, excitement and story of the image. This narrow standard promoted in the traffic evaluation system makes the state of the image increasingly similar, and the individual feelings of readers are overwhelmed by the flood of The Times... At this time, image production tended to be practical and industrial, which cui Zhipeng obviously opposed and tried to resist.

Cui Zhipeng's image world at this stage is constructed by returning to the essence, the painting technique of disablement and the visual description of simple things. Here, the image is neither a declaration nor a narrative, but this attitude itself is the declaration and narrative of this era.

开幕现场Opening Site

相 逆 与 意 识Contradiction and Consciousness

2021.09.25-2021.11.14

策展人 | Curator：蓝庆伟 Lan Qingwei

艺术家 | Artist：崔志鹏 Cui Zhipeng

关于策展人About the Curator

崔 志 鹏
CUI ZHIPENG

1993年出生于江西九江，现为独立艺术家。近期个展有：相逆与意识，千虎瑠ART SPACE，西安，2021；怀揣星河，偶然咖啡，北京，2020；崔志鹏，NUOART画廊，北京，2019；记录与宽容，盘子空间，北京，2018；树志，一处x14象，北京，2017。

Cui Zhipeng（b.1993）, born in Jiujiang，Jiangxi province，independent artist.Recent solo exhibition：Contradiction and Consciousness, QIANHULIU ART SPACE,Xi'an，2021; The Mikey Way in my arms，OURAN Cafe，Beijing，2020；CUI ZHIPENG,NUOART, Beijing，2019；Record and Tolerance，Plate space, Beijing；Shu Zhi, YICHUx14ELEPHANT, Beijing.

关于千虎瑠About QIANHULIU ART SPACE

陕西省西安市碑林区长安南路88号长安国际中心C座7楼702室Room 702,7/F, C, Changan International Center ,88 Changan South Road, Bei Lin District, Xi'an City, Shaanxi Province, QIANHULIU ART SPACE.