Articles and Reviews
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Splinters of Jade: A Postscript/ Professor Dr. Sthaneshwar Timalsina

玉屑集 · 跋 / Sthaneshwar Timalsina教授

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Manchas Taoístas​ / Rubén Pose

道之荫翳/ 鲁本·波塞

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Mengyun Han: In Between Islands / Jonathan Goodman

无定/ 乔纳森˙古德曼

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Whence things have their origin:​The meaning of abstract painting and In Between Islands / Chong Fu

但萬物由它產生——抽象繪畫的意義與《無定》/ 傅翀

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Elegies for Emptiness/ Jonathan Goodman

无之挽歌/ 乔纳森˙古德曼

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L’EXPOSITION PERSONNELLE DE MENGYUN HAN/ Helina Bastais

 





Mengyun Han: In Between Islands 


by Jonathan Goodman



Mengyun Han put up a show remarkable for its sophistication and accomplishment. Han is determined to maintain a mostly Chinese view of things—this despite the fact that she spent four years at Bard College in upstate New York and a semester in graduate school at Rutgers University. Her influences, she maintains, have to do with Taoist philosophy and traditional ink painting, although, perhaps inevitably, one also sees the work as being inspired by mid-20th century abstract expressionists, whose influence still is felt among painters in New York. But, to be fair, she made it clear in conversation that her esthetic is based upon a measured view of both Western and Asian cultures—an outlook that adds to her unusual complexity as an artist. Indeed, she uses both oils and ink in her paintings, not so much as a compromise but rather as an example of dialogue.


Letting, (2013) is a fine, densely painted pattern of vertical threads, rather like an abstract tapestry; it is very large (120 by 48 inches) and commands the space by virtue of its subtle patterning, achieved by her coloring certain areas brown and gray. Its composition reads clearly to someone familiar with Western abstraction, but it would also register in the thoughts of someone interested in Asian calligraphy—a merger that is present in much of the art in the show. A much smaller painting, Momentum, (2013) is very powerful, even monumental in the thrust of its movement. Composed of ink on paper, the painting consists of two broad bands: a vertical black stripe rising upward, with part of it bleeding into a semi curved, lightly inked horizontal surface. The combination is striking.


Wandering Mind, (2012), an oil on canvas done in black, gray, and white, conveys the noise of the mind when it is not directed toward a single point. Samsara III (2012) is a large, four-panel painting that folds across the corner of two walls; it consists of a white composition with a V-shaped design painted into it, and this is followed by three darker panels—ostensibly the blindness of death coming after a shortly lit period of life (one remembers that samsara is a Buddhist term, referring to the cycle of life and death). It is an ambitious work of art, whose size induces extended contemplation; the viewer feels as if he could walk into the painting. In these paintings, Han shows off ambition of a genuine sort, transcending the very worldly terms surrounding her as a Chinese artist.


Published on artcritical


Jonathan Goodman is an art writer based in New York. For more than thirty years he has written about contemporary art–for such publications as Art in America, Sculpture, and fronterad (an Internet publication based in Madrid). His special interests have been the new art of Mainland China and sculpture. He currently teaches contemporary art writing and thesis essay writing at Pratt Institute in Brooklyn.




 



韩梦云个展《无定》 


乔纳森˙古德曼



韩梦云展出的作品无论是在思想深度还是完成技巧的卓越性上都是优秀而突出的。尽管在上纽约州巴德学院求学四年,又在罗格斯大学研究生院学习过一学期,韩梦云仍坚持自己的母文化、用偏中式的视角看待事物。她认为,道家理论和传统水墨画对她个人影响颇深。但外人也不难看出,她的作品与20世界中期的抽象表现主义也有千丝万缕的联系。而直到今天抽象表现主义在纽约仍受众多艺术家的崇尚。在相谈中,她自己其实也明确表明自身的美学理念是构架在中西两方文化之上,这也促成了她融汇中西、独具一格的艺术风格。实际上,她在绘画中是油彩和墨并用的,不过这并不是中西文化之间的妥协,而是跨文化对话的一个典例。


《在宥》这幅作品上绘制了密密的垂直线条,如同抽象织锦一般。这幅画画幅巨大,长120英尺、宽48英尺,整面布满了精巧的图案,由综、灰着色区分开来。无论是熟悉西方抽象主义、抑或是钟爱亚洲书法的观者,都能在此幅作品上找到似曾相识的感觉,产生一些共鸣。在此次画展中,如这般融合中西的作品不胜枚举。《即体》(2013),画幅虽小,却十分具有张力,特别是画者行笔间的力量和动作让观者一览无余。《即体》是一幅纸本水墨画,画面主要由两笔粗宽的线条构成,一笔垂直向上,其中部分墨水在画纸上自由延展呈形成弧度,为着墨甚少的水平角度增添了几分意趣,形成难以言喻的奇妙。


还有一副《游心》(2012)也是十分突出。黑、灰、白三色油彩在帆画布上尽情挥洒,仿佛要倾泻出满心无头无绪的纷杂。而《洗心3》这个作品由4个画板组成,分别置于拐角两边的墙上。其中在一幅几近纯白的画板上韩梦云落笔画下了一个“V”字形状;而此块画板水平方向则依次接着3块暗色画板——仿佛暗示短暂生命光亮后一片死亡的黑暗(samsara 是一个佛教词汇,意指生与死的循环)。这是一幅颇具内涵和意蕴的作品,它特殊的排列和形状引发观者的深思——让人感觉仿若置身于画中。总而言之,韩梦云原创的才华通过她的作品展露无遗,她也不再受“一个中国画家”这样一个的标签的桎梏。


本文发表于《 artcritical》 


乔纳森˙古德曼是一位亚洲文化写作专家,尤其精专于中国艺术领域。他为《美国艺术》、《雕塑》以及《艺术》(其中最后一本为中国当代领域艺术刊物)撰稿。现下,古德曼任教于纽约普瑞特艺术学院与帕森设计学院。

Mengyun Han: In Between Islands / Jonathan Goodman

无定/ 乔纳森˙古德曼