傅文俊油画作品展
2021年11月01日-12月31日，独立映像艺术空间推出“傅文俊油画作品展”。
此次展览呈现艺术家傅文俊创作的两组油画系列作品《信手拈来》和《岁月静好》。这两个系列是艺术家多年来在多元文化背景下做出的跨文化实践，展现出现代生活背景下艺术家对中国传统文化内涵的理解与阐释。
傅文俊在“调和中西”的理念下，采用后现代的解构、挪用和并置的方式，将中国传统水墨与西方现代油画进行多方面的“调和”。在没有改变笔墨语言构架的前提下，把传统文化放置在国际艺术的范畴中来。他将中国传统的写意语言与西方古典的写实语言作为画面表达的基本技法，赋予画面虚实相生的视觉效果，利用穿越式的视觉观感充分诠释创作意图。
他坚持应该以平和内敛的心态，与传统文化内涵进行深度的对望，而不是生活在对传统文化漂浮的想象中。放慢脚步，在相互、多次的对望中抓住传统的内涵。在傅文俊看来，“传统的精髓就像我画作中的那片云，随着时间的推移它在形态上拥有了无数次的变化，但其实质并未改变。改变的只是观看者的思绪与感悟。”

FU WENJUN OIL PAINTING EXHIBITION
Independent & Image Art Space features “FU WENJUN OIL PAINTING EXHIBITION” from November 01 to December 31, 2021.
This exhibition presents two series of oil paintings created by the artist Fu Wenjun, “Pick at Random” and “Quiet Leisure”. These two series are cross-cultural practices that the artist has made for many years under a multicultural background, showing his understanding and interpretation of the connotation of traditional Chinese culture in the context of modern life.
Under the concept of “harmonizing Chinese and Western”, Fu Wenjun uses post-modern deconstruction, appropriation and juxtaposition to “reconcile” traditional Chinese ink art and western oil painting in many ways. Without changing the structure of pen and ink language, traditional culture is placed in the category of international art. He applies Chinese traditional freehand and Western classical realism as the basic techniques of artistic expression, giving the painting a visual effect between virtual and reality, and fully interprets his creative intentions with a transversal visual perception.
He believes that he should have a peaceful and introverted mentality and in-depth look at the connotation of traditional culture instead of living in the imagination of it. Slow down and grasp the connotation of tradition in mutual and repeated encounters. In Fu Wenjun’s view, “The essence of tradition is like the cloud in my paintings. It has undergone countless changes in form over time, but its essence has not changed. What has changed is only the viewer’s thoughts and understanding.”

虚拟展厅 Virtual Exhibition

这次创作我将焦点投掷在中国文化遗产的风云变化上。画中仕女淡泊明志、仪态内敛，虽然她们身处女子无才便是德的古代，而今即使是真正的知识分子也不免浮躁与现实。究其原因，便是这物欲横流的社会本身，使功利目的与效率价值取代了人们对传统文化应有的重视与尊重，使得当下的文化不免落入庸俗中。

This time my work is focused on the changes of Chinese cultural relics. In the picture, the women show high ideals through a simple living and a reserved posture; although they belong to the ancient times, when the lack of talent was seen as a virtue for women, even today well-educated people are not unlikely to be impetuous and realistic. The key reason is that the acquisitive society leads to the replacement of people’s attention and respect towards traditional culture with the material gain and the value of efficiency, making the present culture unavoidably fall into vulgarity.

有人将我此次的创作定义为中西方文化的“融合”，我觉得用“调和”更为贴切。在西画颜料与传统笔墨语言、西画装裱模式与中国传统绘画材质绢本的对举式概念下的调和。我用小写意的技法将稀释的油画颜料施展出水墨的气韵，并将绢本设色的材质裱以油画框。这种多重跨界的尝试也表明了我对传统的态度，那就是既不能片面的脱离当下语境用传统去评判当下，也不可断章取义的去审视传统。

Someone has defined this work as the “fusion” of Chinese and Western culture, but I prefer to say “they are in harmonious proportion”: a harmonious proportion of contrastive concepts, like Western oil painting pigments and the traditional brush and ink language, the oil painting mounting model and the Chinese traditional silk scroll painting materials. With the technique of the half-freehand brushwork, the oil painting pigments are filled with the spirit of the ink painting, and the silk scroll material is mounted with the oil painting frame. The above-mentioned crossover attempts have defined my attitude towards the tradition, that is neither to evaluate the present with the tradition, partially separated from the present context, nor to examine the tradition apart from its own context.