Guests group photo at exhibition site
EMERGENCE
Zhao Junzhong's solo exhibition
Exhibition time | March 1-March 17, 2021
Opening ceremony | 16:00 PM, Saturday, March 6, 2021
VIP Preview | March 1-March 5, 2021
Academic host | Xia Kejun
Producer | Brenda
Planner | Hale
Common Art Center
Entering painting, is to enter the work inside the painting, in the patient work inside the painting, painting is a test of an artist's sensibility, is to see whether he can find his own unique way of working and perceptual logic, enter the interior of painting, open the rhythm space inside the painting, form a tension between heavy and light, so as to construct his own painting language.
Art sharing at the opening ceremony
As a painting language as a form of life, it is not an external work, but an interaction between life and painting, forming a self-created interactive network, a network dynamic system of Autopoiesis (self-created) as said by modern cognitive science. The self-generating transformation of painting is through the interaction of strokes, anti Re-produce your own network, and realise the mutual sensing of various elements in the emerging whole, not only in the network, but also in the middle, and can also maintain a free patrol on the boundary, inspiring the possible tendency that continues to emerge.
A mature painter is in our increasingly intertwined era of virtual networks, constructing the self-created formal language of individual life forms and inventing their own emergence of vitality and imagination space.
Art sharing at the opening ceremony
After many years of creating imagery landscape oil paintings, Zhao Junzhong began to enter a purer exploration of painting language, he began to abandon the image, completely abandon the previous technique, starting from a simple line, strictly speaking the basic element of "line symbol", that is, a short line, but also a broken line, endless repetition, because of the subtle changes in brushstrokes, and the dexterity brought by the artist's countless repetitions, forming a dense and colorful network world inside the picture. This network world is the emerging form of the artist's individual life form and self-creation: the difference in the thickness of the line symbol, the transparency in the interweaving superposition, the construction and occlusion of the deep trompe l'oeil, the strength of the brush strokes to give rise to the paradox perception inside and outside, the intensity of the color to form a complex and rhythmic change, the sharp protrusion and the soft fusion difference to form a subtle deep touch, interwoven into a seemingly tight network, but there is a free passage through the gap, and, between the inner depth of the plane and the outer bulge, Let the line symbols emerge between scattering and aggregation, between rigorous production and poetic atmosphere, with intensity and poetry that has never been seen before.
Exhibition site
Contemporary painting has become an ethic of work, and unlike everyday random photographs or conceptualized artistic acts, the persistent work of painting on the plane has become a symbol of the autonomy of painting art, which actually returns painting to the dignity of its own existence, and once closely related to the self-creation of individual daily writing, it has the perceptual shaping and emergence vitality of individual life forms.
Zhao Junzhong starts from the line symbol, countless seemingly aimless repetitions, with a certain characteristic of Chinese maximalism, that is, through countless repetitions to find subtle differences, but unlike the mechanical single repetition of maximism, Zhao Junzhong's repetitive actions have more intense emotions, with abstract painting's requirements for structure, and even contemporary painting needs to have its own deconstructed paradox perception while constructing.
Ma Shuqing and Xia Kejun
Therefore, many line symbols on the picture seem smooth and similar, but because of repeated superposition, especially the intensity of color, in the cross overlap, irregular, although it seems to be intertwined into a dense network, but there are multiple interruptions, with the artist's troubles when working, and even angry emotions, but are calmed and adjusted in repeated work, this is the ethics of painting when entering the internal work, Zhao Junzhong treats the line symbols as a time record of daily writing, For momentary imprints: these lines sometimes have a sharp feeling, because of the difference in color, resulting in a subtle sharp tingling sensation, and even jagged light bands, suggesting a nameless force to penetrate the dense snare; Or seem to be intertwined into a dense and airtight net, but the inside of the picture actually has a hollow sense of breathability, like a maze, in which there is the soul struggling to cry; Countless repetitions form a huge whirlpool, surging inside, to break through the shackles of the snare. Also, the picture seems flat, because the artist uses the circle as the frame, which brings about the rotation of cosmic energy, and some lightning-like bands are formed in the middle of the picture, as if the light of revelation is guiding the free gaze.
Exhibition view
Therefore, abstract painting is not the repetition of some simple formal elements, not the rational composition of a certain geometric shape, nor the expression of traces of occasional emotions, the construction of abstract painting, for Zhao Junzhong, the more he enters the compulsion of abstract rationality and repetition, the more he has to seek occasional poetry and sharp pain; The more detailed and complex the lines, the more it is necessary to form the overall hazy; The more detailed and cumbersome the part looks, the more it has to have a halo as a whole, and the green and pink on the picture are beautiful and charming. In these tensions of construction and deconstruction, we feel the maturity and abundancement of an artist's perception, which is the formal style of life self-creation, that is, to unfold the emergence and change of line symbols in the paradox of perception, construct the paradox tension of perception, and let the picture generate itself, which is the inner authenticity of painting.
Contemporary painting is to enter the tension of perception and creation, once into the paradox perception inside the painting, Zhao Junzhong's network space, is different from monochrome painting, different from abstract single repetition, but seems to be in a single line repetition, there is also the overall breath of poetry, the more into the mesh of the fine, the more to return to the overall simple atmosphere, this is a very peculiar combination, because although Junzhong abandoned the previous painting language, but the ability to create a hazy poetic atmosphere, The poetry of creating a kind of incarnation in painting does not disappear from his own perception of life, but as a hidden background, as an atmosphere, still lingering there, the more he enters the repetition of the line symbol, the more it will force the breath of this violent atmosphere, and it is this tension that leads to the difference in Zhao Junzhong's abstract paintings.
Exhibition view
In addition to form and tone, painting also needs to open the plane itself. An excellent artist must have its own way of presenting the plane itself, and it comes from the logic of the basic elements of painting. Zhao Junzhong's painting is between the fine mesh and the overall atmosphere, between the plane and the plane and the depth of the illusion, between the plane itself and its bulge.
Exhibition view
The characteristics of Zhao Junzhong's abstract series of paintings are obvious, which is the multi-dimensional opening of the painting plane: opening the inner plane of the painting, but in the interlacing and staggering, it forms an empty space; it seems to be abstract rationality and the plane of the plane, but the overall atmosphere is a poetic atmosphere; the intertwined A layer of material sense is woven, but the irregular lines break the rules. There is both a changing rhythm and a rhythmic change; and the raised dome sense once again strengthens the materiality of the painting, forming a raised dome on the plane, turning the painting towards the materiality, but not a painting device, for the plane itself. The touch gives its own way of generation.
Such a repeated and complicated superposition is a kind of conceptual painting with infinite confrontation with infinite resistance. It is a kind of textual interlacing and writing. It is a painting art that needs to be confronted in a digital way in a digitalised way, but it cannot be a digital copy, but in the repetition, in the construction of a network. In the structure, it breaks, forms countless cracks in the superposition, and can travel freely. Such a painting also reveals the huge metaphor of the Internet era and the form of the self-creation of individual life: our daily life has been controlled by the Internet, just like the dream bubble of Buddhism, the artist is not It is to convert these images into abstract line characters, like the composition of digital atoms, but in its own repetition, it changes the direction and constantly tilts, just like atoms can bring freedom in deflection movement, there is an opportunity to travel, and there may be a smooth way to travel through the ret. These line symbols are shown in the form of an individual's sense of freedom. With countless hard work to resist the reproduction of nothingness, concepts and touch, freedom and practice, the vigourous and restrained ascetic practises of perception, the deduction of time and space travel, the record of life and the emotion of brush strokes, so that the emerging energy has been internally unified. The authenticity and truth of the painting have been double confirmed.
Exhibition view
After Chinese maximalist painting or the Buddhist metaphors of rosary beads and brushstrokes, Chinese-style abstract painting appeared in the field of ink painting, such as Li Huasheng and Liang Quan, and in the field of oil painting, such as Ding Yi and Yu Youhan. Our younger generation of artists Here, Zhao Junzhong sees a more intense and intense expression, as well as the testimony of the self-creation of individual life: whether it is the intensity of the color and the sharpness of the brushwork, or the overall dense atmosphere and the fine internal network, as well as the importance of the plane itself. Opening up multiple dimensions, you can see the current work ethics and life forms of painting. This is to face the pain and struggle of our era, and to face all kinds of mixed and contradictory feelings, but all must be converged in the abstract tone and poetic flavor of painting. In the hazy atmosphere, seeking order in the seemingly chaotic, but also breaking the solidified order to show the firmness of individual crossing, painting can reflect the determination and willpower of an artist, so that painting has a kind of A rare intensity, a kind of incomparably tenacious ethical character that comes from the self-cultivation of art.
Exhibition view
EXHIBITION WORKS
--appreciation--
Change Series
The "Change" series continues the previous figurative poetry, retains the "scene" of imagery, places different line symbols in the unreal, and constructs an aura of coexistence and confrontation between clarity and haze, between shiny tearing and sinking into the inner wrap, so real and so dislocated, but the overall aura has a very important guiding role in controlling the random disorder of line symbols.
Change 1, Acrylic on Canvas, 150x100cm, 2018
Change 2, Acrylic on Canvas, 150x100cm, 2018
Change 8, Acrylic on Canvas, 90x60cm, 2018
Change 9, Acrylic on Canvas, 100x60cm, 2018
Change 10, Acrylic on Canvas, 90x60cm, 2018
Change 11, Acrylic on Canvas, 100x65cm, 2018
Change 12, Acrylic on Canvas, 90x60cm, 2019
Change 13, Acrylic on Canvas, 150x100cm, 2018
Change 15, Acrylic on Canvas, 76x51cm, 2018
Change series, Acrylic on Canvas, 30x20cmx16, 2021
Change 37, Acrylic on Canvas, 150x100cm, 2021
Latent Series
In the series of "latent ", countless intertwined line symbols, on the one hand, went deep into the interior. In the intertwined overprint, an internal labyrinth was opened. Our eyes were brought to the vast interior of the picture, which was almost an endless world like a starry sky. This is an imagery landscape that followed the painter.
The ingenious tension between appearance and concealment is handled very advanced by Zhao Junzhong, between the simple beauty of vision and the vastness of space, our eyes are completely immersed in a poetic hazy atmosphere, and the repetitive abstraction has a faint poetic meaning, which is Zhao Junzhong giving the intensity of abstract composition to the metamorphosis of classical China, but maintaining a hazy sense of chaos, which is an extremely tense transformation.
Latent 11, Acrylic on Canvas, 150x100cm, 2019
Latent 16, Acrylic on Canvas, 150x100cm, 2021
Dome Series
The series of paintings of "The Dome" are more unique. It is no longer a two-dimensional plane and the depth illusion of the interior of the plane, but the external bulge of the plane, a subtle illusion of an outward bulge, which forms a contrast and reversal with the vastness of the previous sinking into the internal space. The artist used a unique material comprehensively, using the thin permeability of propylene and the thickness of the resin to produce a raised touch, a surging movement, and a seductive touch.
Dome 2, Spherical resin propylene, Φ100cm, 2020
Dome 4, Spherical resin propylene, Φ100cm, 2020
Dome 11, Spherical resin propylene, Φ100cm, 2020
Dome 12, Spherical resin propylene, Φ100cm, 2020
Starting from the individual practice of self-creation, Zhao Junzhong's painting art has the potential to further expand, allowing the network to go out of the plane and enter the space, or use the light rays of digital images, or use physical components to specifically weave in the space, or the participatory interaction between painting and human hands, because once it enters the weaving of life self-creation, not only the emerging perceptions and forms will generate themselves, expand endlessly, and form a possible world.
Artist Profile
--about--
Scan the QR code to learn more
For more information, Please follow us
Weibo：共同艺术中心
Instagram：commonartcenter
Facebook：Common art center
Common Art Center, 707-b03 Hongshi Square, No.2 Jiuxianqiao Road, Chaoyang District, Beijing, China
Founded in 2015, Common Art Center is the first contemporary art gallery with a crowdfunding membership system in China. The Common Art Center is jointly initiated by experienced curators, art dealers, collectors and other professionals in the field. It is committed to providing professional collection solutions for contemporary art collectors with a new business model. The gallery takes "paper" as the medium and works of media as its main research and management direction, because of the importance of such works in the Chinese art system and the broad development prospect in the future. Using paper and folk art as the medium, the excellent artists make paper as a tool to resist its fate, allowing it to get rid of the veil of function and reveal its own artistic value.
