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Kelly 刘静雯

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Kelly 刘静雯

Born in 1992, Guangzhou, China. Acquired BA (Hons) Fine Art, 2D from Central Saint Martins — University of the Arts London. Now work and live in Guangzhou, China.

 

After graduation from university, she has been engaging in the practice and research of art and psychology:

February 2017 to July 2018, as a volunteer teacher of painting at the “Wei Guang Exceptional Children Art Rehabilitation Center”;

August 2017 to present day, teaching creative painting of mental recovering patients at the “Chun Hui Shelter Workshop” and the “Guangzhou Li Kang Center”;

September 2018 to present day, as a painting teacher at the "Tulip Sunshine Organization, Guangzhou Branch" (an organization of depression patients and their family).

Every time she creates, she needs to stabilize her emotion first, and then explore her own heart carefully. When she enters the state, she begins to create. Each piece of work is a presentation of self-exploration, a bit like a diary, just using a brush and other materials, expressing in the form of abstract painting. The experience of art therapy in the past few years has made her more faithful to the description of her current state. She also observes her emotional changes during the creative process, and in-depth understanding of herself through constant introspection, thus using the picture to express more inner world.

Exhibition|Art Fair|Project

2019 "Withdrawing to Look in" Solo Exhibition(Guangzhou, China)

2019 Asia Contemporary Art Show, Autumn(Hong Kong)

2017 Singapore Contemporary Art Show(Singapore)

2016 Central Saint Martins 2016 BA Fine Art Degree show, Lingering, C301 CSM. (London)

2015 The Now Show+ING Exhibition — Fondness | Inner, Commodity Fetishism. (London)

2015 The Special Project of Art Canton —— Inflammatory Essays (Guangzhou, China)

2015 The Long Shadow Exhibition, The Petrie Museum, University College of London. (London).

2015 The Drifting Project of Engraving, Worldwide interventional project;

2015 RIJI Group Exhibition, Camden Image Gallery. (London)

2014 Parasite Project, Collaborative installation in CSM. March-May 2014. (London)

 

Publishing

2012年12月 Heart of Darkness. VEUX Magazine, Issue 3, Splendor & Squalor, p.5.

2012年06月 Somber. VEUX Magazine, Issue 6, Fluidity, p.14.

 

 

 

The three-years engaging in art education for special crowd give me a further and more honest understanding of visual language as well as the mentality in drawing and painting. Meanwhile, the teaching experience makes me realize the nonnegligible gap between visual language and word language.

My recent practices, explore and focus more on letting out the function of how drawing and painting communicate and exchange feeling, rather than understanding images in either conceptual, logical, or symbolic realm. Thus, by paying more attention to observe, record, and bring things to conscious, recent works that inherit the idea of the Glazing series, are named by thoughts and emotion that I faced during creation, may intend to guide the viewers to access my working process.

Series Glazing Statement

Art is more real than reality itself. It bridges the gap between the world and me by taking me into a place beyond words and evoking powerful emotions. Ambiguity and paradox fascinate me and drive me to think about my relationship to my surroundings. The outer world is full of uncertainty and changes at any moment. When I am placed into this kind of ambiguity, the only way for me to find the exit is to stay with the confusion until I understand things in a non-logical way. I use abstraction to explore the ambiguity and paradox of being in between. Colour, brush stroke, and light vibrate and resonate.

 

Rather than being a tool of self-expression, this series of paintings about ‘process’ engages in delivering psychological track to the flat surface; visualising my mood and inner status within certain atmosphere and moment. These imageries are echoed the inner motion, inner life, and the inner self-activation. Then pull this range of experiment into illusionary and sentimental triggered paintings by posing random gestures and rendering, and allowing chaos and independent consciousness interact.

 

To limit the viewer’s perception within 2D surface but aiming at opening up our consciousness and sub-consciousness. Exploring the area without rational and logical thought. In order to offer the viewers a spiritual visual experiment, physiological dependent relationship is expected to happen between on the viewers and works. The theories of empathy, psychotherapy, and phenomenology have influence on my works. Referencing to Zen art, irrationality, ambiguity, and paradoxical thought feature the method of justifying artworks. _

 

According to the essay Abstraction and Empathy, “Aesthetic enjoyment is objectified self-enjoyment. To enjoy aesthetically means to enjoy myself in a sensuous object diverse from myself, to empathize myself into it”,_ therefore, imagery that suggests spiritual phenomenon and mysterious of unknown, will increase empathy, to invite the viewers to lose and indulge themselves by standing in front of the painting. Once the psychological dependent relationship and contemplation happen, the communication will never end.

 

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