Work Statement:

这件作品建⽴在我之前对现成品艺术概念的探索之上，灵感来⾃艺术家Stanley Whitney。我使⽤的三幅画来⾃艺术家在伦敦⾼古轩画廊的展览。这些画作颜⾊明亮、丰富且充满活⼒，被展出在⼀个⾼级画廊中。其空⽩的墙壁和宽敞的环境，使观众沉浸在艺术家对⾊彩的探索中。这些体验启发了我去思考观者对于艺术品和现成品之间审美体验的对⽐、是否画廊⾥的⾊块⽐⽇常⽣活中的⾊块更加⾼级。这些画作与我⼿机相册中普通的⽇常照⽚形成了对⽐。⼿机⾥的数码照⽚可能是偶然拍摄的，也可能是为了记录什么，但当我缩⼩这些照⽚的尺⼨、⽤绘画的眼光去看它们，它们就变成了可以放置在任何地⽅的彩⾊块。所以当我们将⽇常⽣活本身视为⼀种审美体验时，这些缺乏有意识表达⽬的的⽣活碎⽚是否可以成为⼀种具有独特身份的艺术形式是作品思考的问题。

我挪⽤了斯坦利·惠特尼在伦敦⾼古轩画廊展出的三幅画:《蓝⾊的ᰀ性》、《玛丽娜的花园》和《⾏⾛与思索》。这些画作散发出丰富，活⼒和魅⼒，因为他们优雅的⼀个⾼档画廊的墙壁，被其⼴阔的，原始的环境包围，沉浸在艺术家的⾊彩的深刻探索观众。这与我⼿机相册⾥那些司空⻅惯的⽇常照⽚形成鲜明对⽐。我⼿机⾥的数字图像，可能是偶然捕捉的，也可能是为了纪念⽽记录的，当通过绘画的镜头观看时，它们会发⽣变形。缩⼩这些照⽚的尺⼨，显示出它们仅仅是⼀块块的颜⾊，⾜够多才多艺，可以放在任何环境中。

This work builds on my previous explorations of the concept of readymade art and is inspired by the artist Stanley Whitney, whose three paintings I used in the artist's exhibition at the Gagosian Gallery in London. The paintings are bright, rich, and powerful, and are displayed in a high-level gallery. Their white walls and spacious environment immersed the viewer in the artist's exploration of colour. These experiences inspired me to think about the contrast between the viewer's aesthetic experience of a work of art and that of a finished product, and whether the colours in the gallery were more advanced than those in my daily life. These paintings contrast with the ordinary daily photographs in my cell phone album. The digital photographs in my cell phone may have been taken by accident, or they may have been taken to document something, but when I reduce the size of these photographs and look at them with a painter's eye, they become coloured blocks that can be placed anywhere. So when we think of daily life as an aesthetic experience in itself, the question of whether or not these fragments of life, which lack a conscious purpose of expression, can become an art form with a unique identity is one that the work considers.

I have borrowed three paintings by Stanley Whitney from his exhibition at the Gagosian Gallery in London: "Blue ᰀ Sex," "Marina's Garden," and "Shooting and Thinking. These paintings exude richness, power and charm as they grace the walls of a high class gallery, surrounded by their expansive, pristine environment, immersing the viewer in a profound exploration of the artist's colours. This is in stark contrast to the usual daily photographs in my cell phone albums. The digital images in my cell phone, which may have been captured accidentally or recorded as a memento mori, take on a distorted appearance when viewed through the lens of a painting. Reducing the size of these photographs reveals them to be mere blocks of colour, versatile enough to be placed in any environment.

Artist Bio:

我的作品围绕着探索当下⽣活的图像系统展开。我对“看”表现出了浓厚的兴趣:我们如何把⼀幅画作为⼀个图像来看待，我们如何把⼀幅画作为⼀个物体来看待? 特别是在互联⽹时代，每个⼈每天都通过智能⼿机获取信息，审视我们的世界。我对今天图像表现和传播的新内涵很感兴趣。我关注艺术史上不同的图像概念，图像在数字媒体平台上的表现和传播，以及⼈们对图像的感知和审美标准。我的作品通过挪⽤和重新处理⽆处不在的图像来探索观看系统的局限性和固有偏⻅，使观众思考如何重新审视我们认为理所当然的⼀切。我希望我的作品能够让观众反思基于数字媒体的媒体图像如何塑造我们对这个世界和我们⾃⼰的感知。与此同时，我也尝试在形式、材料和颜⾊上进⾏实验。我以“⾊彩”和“可重复性”的概念为核⼼，⽤刮⼑⼯具反复刮擦丙烯颜料，重叠、交织颜⾊形成图像，探索和反思材料媒介本身的可能性。

My work is centred around the exploration of image systems in contemporary life. I am interested in "seeing": how do we see a painting as an image, how do we see a painting as an object? Especially in the age of the Internet, where every person acquires information and examines our world through smart phones every day, I am interested in how images are represented and disseminated today. I am interested in the new connotations of image representation and communication today. I focus on different concepts of images in art history, the representation and dissemination of images on digital media platforms, as well as people's perceptions and aesthetic standards of images. My work explores the limitations and inherent biases of viewing systems by appropriating and reprocessing ubiquitous images, making viewers think about how to re-examine what we take for granted. I hope that my work will allow the viewer to reflect on how media images based on digital media shape our perception of the world and ourselves. At the same time, I try to experiment with forms, materials, and colours. With the concepts of "colour" and "repeatability" as my core, I repeatedly scrape acrylic paint with a scraping tool, overlapping and interweaving colours to form images, exploring and reflecting on the possibilities of the material medium itself.

Zongyao Liu/刘宗瑶 b.1998 , China

Education

Postgraduate studies in printmaking at the Royal College of Art (2023)

Bachelor's Degree in Printmaking, Central Academy of Fine Arts (2021) 

研究⽣毕业于皇家艺术学院版画系(2023)

本科毕业于中央美术学院版画系(2021)

Exhibition

Gatehouse Chambers Art Programme 2023-2024年

Gatehouse Chambers/Travers Smith 伦敦

RCA 2023 Degree Show 2023年6⽉Royal College of Art 伦敦

TWO FOLD 2023年3⽉ Royal College of Art 伦敦

HOWART后毕业季暨优秀毕业⽣扶持计划-2021城市艺术⼤展 2021年1⽉浮云艺术 北京

第第⼗届⼤学⽣艺⽊博览会 2021年10⽉⼤艺博 武汉

2021“蓄势待发”中央美院毕业展 2021年6⽉ 中央美术学院 北京

第⼗届“⻘春•⾜迹”主题创作展 2021年5⽉ 中央美术学院 北京

2020北京⻘年美术双年展 2020年12⽉ 共⻘团北京市委员会 北京

浮想集“⾮同寻常”展览 2019年 中央美院展览部 北京

“⻘⽽艺聚”央美⻘年艺术家助⼒计划 2019年 央美⻘年空间 北京