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Légendes de gauche à droite :
1/ Lai Jinna - 来金娜, Horse - 马, color pencil on paper - 纸上彩色铅笔, 58×77cm, 2012.
2/ Lai Jinna - 来金娜, Pineapple - 菠萝, ball-point pen on paper - 纸上圆珠笔, 48×60cm, 2010.
3/ Lai Jinna - 来金娜, Rabbit - 兔子, color pencil on paper - 纸上彩色铅笔, 56×76cm, 2013.
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présentation - 展览介绍 :
Lai Jinna’s artworks in color pencil and ballpoint made their debut in a series in 2010. In “A Full Void” No. 1 and No. 2, pencils of four colors, red, green, blue and yellow, are used alternately to produce small and colorful patches of detailed and uniform strokes. Moving closer to the drawings, we can detect the indistinct outline of the objects. Those strokes of thin lines that start and end at particular places work to give complex forms and structures, like a flower basket, a vase, or vibrant flowers. Viewed as a whole, they are abstract and hazy noises produced by the uniform colors that change and repeat in a certain order, but surprisingly they become distinct realistic images when looked closer and more carefully. It challenges conventional modeling in drawing when she reverses two senses which we get from an overall view and a partial view respectively, one of formal reality, the other of abstract form.
It is one of “all those outcomes” Lai is to embrace. Born in Xi’an in 1985, she settled down in Beijing with her family in her childhood. Upon graduating from Xi’an Academy of Fine Arts, she rented a studio in Beijing where she had a number of conventional acrylic paintings on canvas, including landscape, animals, figures, as well as some experiments in from. These works, fresh and lively, tell us of her artistry, attainments, talents, as well as an open mind. When surroundings and conditions for creation changed after she moved with her family to a villa in Miyun in the northern suburbs of Beijing, she found herself drawing, in color pencil and ballpoint, livestock, fruit, vegetables and other things that were close to her life there. The tempo in the villa, gardening, and the simple and repeated everyday life, all contributed to the changes in her way of doing art.
This experience means opening up to the self. After all that comes into the focus of her view is reduced to the minimum, remains only the inseparable: material for drawing, objects and action. When she is fully concentrated on the dense lines, style, tradition, rules and fashion are all shut in an irrelevant dimension—the drawing is nothing but the result of drawing as a series of actions. In this case the animals and the flowers in her drawing, freed of multiple implications as images, present merely the “appearance”, while the images, as the outcome of drawing as a chain of actions, are rendered fairly delicate and exquisite. With deepened understanding and new experience gained from her continued concentration, she gradually reaches the core of the material. These drawings reveal that she is depending on the instinctive and unconscious experience that can “work automatically”, but in a broader analysis, she is determined to accept all the outcomes.
Lai has been focusing on the multiple relation between objects, forms and images, which relation, when well integrated, provides another way of observation, expression and expression from a psych logistical perspective, so “inward looking”, “inward expression” and “invisible images” become distinctive features of these works. Accompanying these pencil and ballpoint artworks, there is also an installation made of pencil stubs and thick branches from the pruned trees. It is another “outcome of the actions” that teaches us to view and understand in different perspectives.
“A Full Void: Lai Jinna’s Artworks” will have its opening on March 22, 2014 at 01100001 in Red No. 1 at Caochangdi Art Village in Beijing. This exhibition, also Lai’s first solo, will present over 30 color pencil and ballpoint artworks and an installation.
01100001画廊将于2014年3月22日推出《满满的空：来金娜个人作品展》。这是艺术家来金娜的首次个展，包括30余件彩色铅笔和圆珠笔绘画和一件装置作品。
来金娜的彩色铅笔和圆珠笔作品是从2010开始的一个系列。在《满满的空》1和2中，红、绿、蓝、黄四种颜色铅笔交替使用，细致而整齐划一的笔触形成了颜色的斑块。随着观看距离由远及近, 我们会发现当中隐藏着某些物体的轮廓线。那些由细线组成的笔触在特定的位置结束和开始，形成了复杂的形体——花篮、花瓶、花朵，枝繁叶茂，生机勃勃。从整体上看，统一而按一定秩序变化重复的颜色形成了抽象而朦胧的噪点，但更近更仔细的观看反而显现出了明晰的写实形象。这恰恰与普通意义上的绘画的造型方式相反，对作品整体和局部的分别审视形成的形体真实感和笔触的抽象形式感在这里颠倒了位置。
这是来金娜所要接受的“所有结果”中的一种。她1985年生于西安，少时曾随家人生活在北京。2008年她从西安美院毕业之后来到北京租了画室，创作了一批常规意义上的画布丙烯作品，包括风景、动物、人物，以及一些形式上的实验。这些作品轻松明快，既透露出技艺、素养和天赋，又显现了开放的意识。2010年她随家人迁居到北京北郊密云的山庄中，由于环境和工作条件的影响，不知不觉中开始了用彩色铅笔和彩色圆珠笔来描绘家畜、水果、蔬菜等贴近生存体验的作品。山庄中时间的节奏、经常的园艺劳动、简单和循环重复的生活，改变了她创作的方式。
这是一个向自我开放和展开的过程。来金娜将她所关注的事物减到她所能达到的极限，剩下的都是与她自己紧密相连的东西：材料、物象、动作，没有其他。在密密排列短线的劳作中她全身心地投入，风格、传统、法则、时代风尚等等已经成了无关的另一个维度中的东西，作品只是作为绘画这一行为的结果。这样，她笔下的动物和花卉没有图像上多重的引申意义，只展现了事物的“表象”，而在图像作为结果的识别上展现了无比的精巧。在持续的密集的工作中她不断产生新的体会和经验，逐渐掌握了材料的特性。从画面来看，在微观上她依靠本能和潜意识中的经验进行“自动控制”，而宏观上她已经打定主意接受所有的结果。
物、形、以及图像的多重关系一直是绘画的主要题目，来金娜的作品展现了这些关系整合中一种心理主义的角度，构成了一个另一维度的观察、体验、表达的方式。她“向里观看”、“向内表达”、“隐形的物象”形成了她较为独特的作品面貌。与这批作品相关联，她利用彩色铅笔用后的残留部分结合修整林木伐下的粗大树干为材料制作了一件装置作品，作为一个“行为的结果”，它启发我们用不同的眼光加以审视。
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