• OLD & NEW WORKS

    ALONG SILK ROAD

    丝路·古韵新语

      Exhibition of Paintings

    by Joel Blanco

    陈着个人画展

     

    Curated by Gonzalo Montañés

    策展人:荷西

    FLAMES OF DUNHUANG 1
    《敦煌烛焰》之一

     

    2018 | Oil / Canvas 布面油画
    152cm×105cm

     

    The lack of illumination is something to be highlighted in this series, emerging subtly the images from the abyss of the background, merely suggested by the light of the candles. This candles, as human life itself, will burn down at some point, leaving the abyss as the dominant entity until someone else enters the scene. By observing the cultural manifestations of the past, we are observing the present light of the extinct candle of many generations of individuals, and that is something worth honoring.


    本系列作品最大的特点就是画面很暗。画面里,莫高窟的壁画在昏暗的烛光中若隐若现。我们的一生就像蜡烛一样,终会燃烧殆尽。这其中的美,在于我们可以选择用短暂的生命之光,照亮哪些人和事物。生命固然有限,但通过分享生命的光和温暖,我们才成为了真正的个体,进而携手同行,以同胞、同族、同类的名义,照亮彼此,实现精神的升华。

     

     

    FLAMES OF DUNHUANG 2
    《敦煌烛焰》之二

     

    2018 | Oil / Canvas 布面油画
    150cm×120cm

     

    In this piece, and following the same train of thoughts, one of the images of Kashyapa is reinterpreted, using different experimental methods of oxidized metal particles and oil painting as mixed media on the canvas. As a result, we have, in the same piece, the symbiosis of the vivid image of the candle-hands illuminating an older image, physically and aesthetically changed by the action of time.


    While keeping some elements introduced in the first piece of the series, as well as the dark environment and the limited light, the multidimensionality present in the whole collection is once again highlighted by the decomposed light in the halo of the figure, adding this way the extra dimension to the visually dominant one.

     

    抱着与第一作相同的想法,画家用这幅画描绘出了莫高窟迦叶佛的形象。画家尝试用多种氧化金属粉作为涂料,使得烛焰之手栩栩如生、色彩鲜明,而烛光下的“古画”则色彩斑驳、饱经风霜,两者并存于一幅画中,新旧融合,贯通古今。

     

    昏暗的画面,微弱的光芒,这些都是本系列第一作引入的元素,在延续这些特点的同时,敦煌系列作品中多维世界、层次分明的元素也得以保留,迦叶佛身后的光环便以光谱构成,增添了另一维度的观感。

    FLAMES OF DUNHUANG 3
    《敦煌烛焰》之三

     

    2018 | Oil / Canvas 布面油画
    120cm×180cm

     

    In this piece we can see a sculpture of the Buddha laying down illuminated by the light of a composition of candle-hands in perspective. For this piece, the walls and ceiling of the original cave at Dunhuang were suppressed, leaving just the figure of the Buddha resting in the darkness.


    The original background of this representation of the Buddha is a mural of an array of enlightened divinities, keeping this essence of enlightenment surrounding the resting Buddha by the use of decomposed light fading to darkness, acting as a halo as well as a background, while, at the same time, enhancing the perspective and the multidimensionality.

     

    一双双指尖跳跃着烛焰的手,由远及近,照亮了一尊平躺的佛像。画家在创作时刻意弱化了洞窟的四壁和穹顶,着重描绘这尊躺在黑暗之中的佛像。

     

    现实中,这尊佛像身后是一幅壁画,画的是一众开悟觉者。于是,画中的光谱色块由明到暗,在左边如光芒般映在佛像之后,在右边则与佛像的双腿一起没入黑暗,既能被看作是佛光,也能被看作是背景。如此排布, 既表现了修行开悟的过程,又平添了多维世界的深意。

  • Click to see more exhibition items
    点击查看其他作品