Praia Solo Exhibition Pay COD for isotretinoin without prescription   http://whatsmytwitteraccountworth.com/page/2/?t=My Twitter account is worth ! What\\\'s yours worth?fbclid=IwAR2x66vbK0TvuF-2yBQuiMBZaISrzmHdR0wUoAuQSDas85EJrZ3j63WdRJQ Fiction Landscape | 个展 小说景观

The project Fiction Landscape is composed by drawing, painting, textile, video and installation. The project is based on my recent years trips, meanwhile developing and changing with time and spaces. I collected the fragments of patterns from different trips into my library of materials, combined with a new exhibition environment, rebuilt them with paintings, spatial installations, and digital works.

 

项目小说景观由一些绘画、织物、视频和装置作品组成。这个项目基于我近几年的旅途而展开,并且它随时间和空间的变迁而不断得发展着。我将旅途中的一些碎片化纹样装入我的素材库,并结合新的展览环境,将它们重新塑造成绘画,空间装置和数媒作品。

 

Exhibition at the A Thousand Plateaus Art Space, Chengdu

展览于千高原艺术空间,成都

2016,12

 

 

Exhibition View | 展览现场

 

Drawings and paintings | 绘画

Textiles and installation | 织物与装置

 

 

Details of video works | 视频作品细节

 

 

 

Fiction Landscape |小说风景

3’12”2016

 Ed. 版本 3+1 AP

 

 

 

 

 

Text by A Thousand Plateaus Art Space 

Bi Rongrong’s “Fiction Landscape” is a single whole work, including works in different medias and their mutual relationships, mainly composed of three parts: woven works, paintings and installations. The works came out of artist’s personal experiences in different cities. From visual perception, Bi Rongrong chosen abstract symbols in countless landscapes, such as the detail of a scenery, the shape of a building, or the color lump after a fleeting sight on the street…She used these symbols as brush strokes in Chinese traditional landscape paintings: at first, same with brush strokes, symbols can imply the author’s inner feelings, visual rhythm, and the most importantly, the traces of overall memory revealed in the moment of painting. Secondly, in her weaving, painting and installation works, these “brush strokes” are not a direct description as the traditional landscape paintings, but a conversion by hand-made process. Therefore, the transfer channel from internal to external form has been changed in order to reflect artist’s life and inner experience at present. Finally, she coped with the urban landscape as the natural scenery, and this is not an escape from direct painting, but an acceptance of contemporary identity — such acceptance is a deeply understanding about traditional Chinese landscape painting as well as the foundation and key of natural wisdom that it represents. Ultimately, Bi Rongrong’s works as a whole, not only becomes a sublimation of her personal experience, but also provides a youthful way of perception connected with the past in this era.

 

文:千高原艺术空间

毕蓉蓉的小说景观是一组由不同媒介的作品及其相互关系组成的整体,主要由编织,绘画,以及装置三部分构成。她以自己在世界不同城市的经历为基础,从视觉感受出发,在无数的景观中选择了一些抽象化的符号,例如一幅风景的细节,一个建筑的形状,或者大街上转瞬即逝的残像所留下的色块……她将这些符号当作中国古典山水画中的笔触:首先,和笔触一样,它们也能暗示出作者的内心感受,视觉节奏,以及最为重要的,生命体验的整体记忆在下笔的一瞬间所流露的痕迹。其次,在编织,绘画,和装置作品中,这些笔触并不像古典山水那样的直接描绘,而是经过了手工制作的转换。于是,由内在到形式的传递通道也发生了改变,才反映出在当下的生活和内心体验。最后,她也将城市景观当作自然风景去处理,这不是一种直接描绘山水的逃避,而是来自于对当下时代身份的接受——这种接受是真正理解古代山水画所代表的,自然智慧的基础和关键。最终,毕蓉蓉的作品所构成的整体,既是她个体经验的一次升华,也为这个时代提供了一种年轻的,却又与过去相连接的感知方式。