2022 年 12 月 20 日至 2023 年 2 月 19 日，木星美术馆将呈现《视界·是界》，展出广州美术学院水彩画系水性材料与跨界拓展工作室（第四工作室）师生的作品。展览通过呈现艺术家以水性材料为媒介的跨界探索成果，为观众提供感知艺术的新视角，展览将免费对公众开放。
美术学院是部分青年人踏上创作的起点，是寻找、学习创作方法的开端，是在思维震荡中衍生新艺术面貌的母体。本次展览邀请到广州美术学院水彩画系水性材料与跨界拓展工作室（第四工作室）的师生参与。广州美术学院水彩画系有着清晰的传统学院脉络，以王肇民教授为引领，一批批优秀的水彩画家兼容并蓄、开拓行进，广美水彩也在 40 年积淀之下有了更加完整和宽容的学院体系。水彩第四工作室（下文简称四工）由原第二工作室发展成立，“水性综合与跨界拓展”是其研究探索的主要内容，以“水”为媒的材料研究扩充了其除传统架上水彩技法的探索边界，增加了艺术作品的呈现与感知形式。
刘叶子，1992 年生于中国河北。2018 毕业于广州美术学院水彩画创作研究方向，获硕士学位，师从蔡伟国教授。2020 至今吞武里大学艺术管理专业博士在读。现生活于深圳，主要代表作《异帘忧梦之二》等。
深圳市福田区蓝花道 6 号艺术中心
Author| Yezi Liu
Visual presentation and reception are a circular process. The first image or scene often brings visual impulse, which makes people want to spend more time seeing it. In this era of jumbled and complicated image information, when the over-media image makes every novelty ordinary, the process of culture has a deeper pursuit and expectation for the energy dimension brought by visual art.
The Academy of Fine Arts is the starting point for some young people to set foot on the creation, the beginning of looking for and learning creative methods, and the matrix of new artistic outlooks derived from the shock of thinking. This exhibition will invite teachers and students from the Studio of Water-based Materials and Cross-border Development (Studio 4) Department of Watercolor Painting of Guangzhou Academy of Fine Arts. The Watercolor Painting Department of Guangzhou Academy of Fine Arts has a clear traditional academy context. Under the guidance of Professor Wang Zhaomin, batches of excellent watercolour painters have been tolerant and pioneering. Guangmei Watercolor has also developed a more complete and passive academy system after 40 years of accumulation. Watercolor Studio No. 4 (now called "Si Gong") was established from the former No. 2 studio. "Water-based synthesis and cross-border development" is the main content of its research and exploration.
To sum up, to present the exhibition more comprehensively and three-dimensionally, the audience can view the works from a more multi-dimensional perspective and link the relationship between them and themselves. Around "horizon", the exhibition is divided into three units: "abstract material horizon", "ordered symbolic horizon," and "accessible contemporary horizon". The classification of works is based on the theme, creation time, creation region or media in the traditional sense but on the idea, content dimension and moving image penetrated by the works after a more emotional "dialogue" with the results. By breaking through the visual boundary classification method, we can only extract and assume a more cohesive or even sharp artistic language. At the same time, the spatial design of the exhibition also entirely fits the intention of the show to break the classification boundary of "visual horizon". With an "invitation" action, the audience actively shuttles around this art forest with a disorder in appearance but orderliness in fact and realizes the transformation of viewing emotions in the preset change of viewing behaviours of looking up, looking down and looking down. The exhibition hopes to abandon traditional methods to achieve "cooperation" with viewers and more directly convey the hidden stories behind the works. The simultaneous mirroring between the results and the audience further Narrows the physical and psychological distance between the two. This process of several "presentations" depicts the exhibition's conversation-questioning journey, eventually solving the riddle of how to get away from the habitual limits of the objects to be presented, how to return to the discovery of art and the production of new ideas. And how to station more reasonable modern factors in removing the shelf. With these problems, Sigong will open a new vision of college art different from everyday cognition.
The second "realm" in the exhibition is about the self-searching and self-combing of the artist's identity. While leaving college and entering social work, artists experience the dual migration of geography and psychology. They may have discoveries and motivation when they try to play back their immature "art demo" through "video rewind". In the face of the prompt from oneself, no matter in what kind of enclosed space can be infinite thinking, time-defined life site, identity-defined life content, or cognition-defined creation method. We will break such "definition" in the continuous progress and review.
Only through constant attempts can the deadlock of fake creation be broken. As we soak in the same environment for an extended period, we are gradually narrowed to the "micro distance" with the environment, which makes us unable to see the relationship between the environment and ourselves and the relationship between the art. Taking time as a distance, the abstract perception formed by the memory contact points recalls not the past but the present state and its impact on values. So no matter in the past or the future, we will have reason to believe that the "realm" of artistic creation will not be regulated in some spatial field, let alone stagnant in some mental stereotypes. Traces of life and sudden experience can be unconsciously produced and fermented in thinking. If we can also realize them in the language of art, then this is the energy we should play under the background of the college.
The "boundary" of vision, the "boundary" of identity and the "boundary" of two dimensions triggered by "Vision · Shi Boundary" are both discussed under the background of literary art. The aim is to lead the audience to re-understand the power and width of college education in a micro way, to give more intimate actions to the public in a broader picture. And we aim to help the audience understand that the language of contemporary art is not only the monologue of artists with private traces of the symptoms of The Times but also the harmony of the public under humanistic care.
About the exhibition hall
The design of this exhibition space needs a physical sense of stacking and accumulation. In the design process, artists investigated how to communicate and narrate the exhibition item's vision and story through space design. Present the exhibition in a more comprehensive and three-dimensional way. The audience can view it from a more multi-dimensional perspective and link the relationship between themselves and the content of the works. The space exhibition is suitable for this exhibition, and the intention of breaking the classification order of the horizon by using "slash · breakthrough" and "mirror · extension".
The exhibition uses the "slash" as a potential guide to "invite" the audience to actively shuttle around the art forest through the change of viewing behaviour to achieve the transformation of viewing emotions so that they can more intuitively receive the story behind the work. The world of "mirror" continues the path of exploration of Watercolor artists.
About the curator
Yezi Liu was born in 1992 in Hebei, China. In 2018, she graduated from the Guangzhou Academy of Fine Arts with a master's in Watercolor painting creation and research. She studied under Professor Weiguo CAI, PhD candidate in Arts Management at Thunburi University from 2020 till now. She lives in Shenzhen, and her main work is "The Second One of the Strange Curtain".
Jupiter Museum of Art
No.6 Lanhua Road, Futian District, Shenzhen
Department of Watercolor Painting, School of Painting Art, Guangzhou Academy of Fine Arts
Jupiter Museum of Art
Shenzhen Art Vision Culture Communication Co., LTD