蓝洞 | 金俊杰个展
The Blue Hole - Jin Junjie Solo Exhibition
18 Nov, 2017 - 3 Jan, 2018
2017 年11 月18 日，青年艺术家金俊杰的首次个展于空间站揭开面纱，本次展览展出艺术家过去一年创作的数十幅抽象绘画作品，全面呈现了自天津美院公共艺术系毕业五年来独立探索出的独特的绘画语言。在和空间站合作之前，金俊杰的作品曾经参与包括今日美术馆、广西美术馆、山东美术馆等多个学术机构在内的群展，凭借旗帜鲜明的创作风格和别具一格的画面表现，成为当下最值得关注的青年艺术家之一。
Jin Junjie Solo Exhibition：The Blue Hole
The first solo exhibition of young artist, Jin Junjie, will be unveiled on November 18, 2017, at Space
Station. The exhibition will present dozens of pieces of abstract paintings created by Jin in the past year,comprehensively showing the unique artistic oeuvre independently explored by him since the graduation from the Department of Public Art at Tianjin Academy of Fine Arts. Before working with Space Station, Jin’s works have been selected in a handful of group exhibitions, including Today Art Museum, Guangxi Art Museum, Shandong Art Museum and many other academic institutions; with the distinctive style and unique approach, Jin has become one of the most notew orthy young artists.
The exhibition is titled as “The Blue Hole” that originates from a special ocean phenomenon: the roughly circular, steep-walled depressions, named for the dramatic contrast between the dark blue, deep waters of their depths and the lighter blue of the shallows around them, were caused by rising sea level during past ice ages; and like, looking down from above, blue holes on the surface of the earth, or eyes, or wounds – these diverse images encourage different imaginations, so that the blue hole has become a synonym of the mysterious.
This coincided with the independent exploration of Jin for abstract painting: he buzzed over to apply the predetermined pigments to the canvas layer by layer, and then destroyed the stability and order of the painting in the course of digging holes, in which the unexpected results inspired the artist to repeat this adventure. Jin was obsessed with bold adventures in exploring peculiar visual language without fear of trial and error, as deep-sea divers obsessed with wonders of the blue hole. The unforeseen outcome is an increasingly strengthened belief in life: sneak into the depths of the sea and ret urn safely.
Although Jin’s career was intermittent for more than one reason, he never gave up the unremitting
exploration of the basic motif of painting. Through continuous discussion on various issues like parallax, light and shadow, and somatosensory in painting, he gradually developed a type of “not paint” style of creation and used it to reflect on traditional painting methods, providing a new untapped possibility for painting. In contrast to the object-oriented programming in the traditional painting, Jin broke away from the limitation of creation on a plane by the complicated process of superimposing different colors of acrylic layers in a certain thickness and engraving them, which metaphorically refer to a diachronic record and elaboration. Therefore, the creation consists not in a concrete stroke at an isolated moment, but a selfcontained system whose continuity constitutes the rare organic sense and spirituality in Jin’s paintings.
Moreover, the countless dots carved out in the intense physicality solidifies into a three-dimensional shape displaying the transformation from 2D to 3D -- the masterstroke that makes Jin’s logic of creation visualized.
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