Nick Archer’s works contain a simple image of a form, natural or man-made, in a state of change. However, it is the process of how the paintings are made which reveals the subject matter.

 

阿切尔的作品中所包含的简单图像：形状、自然、人造，通常处于变化的状态。然而，正是艺术家创作作品的过程，才使其主题真正得以呈现。

In addition to traditional canvas, the artist uses unconventional surfaces such as black sand cloth (also known as silicon carbide or carborundum paper or cloth) and copper plates. The materials are chosen for both their aesthetic qualities and their industrial nature.

 

除了传统画布，艺术家还使用了一些非常规的材料，如黑砂布（也被称为碳化硅、碳化硅纸或布）和镀铜板,美观的同时兼具工业特性。

The revealing of the surface and colors below the image give a sense of entering another world through the veils of paint. This effect is enhanced in the new body of works through the use of black and white imagery alongside areas of rich color. 

 

表层之下图像和颜色的透显，给人一种透过画表的胧纱进入另一个世界的感觉。在新的作品中，通过使用黑白图像并衬以丰富饱和的色彩，这种效果得到了加强。

The idea was influenced by cinematic use of the technicolor process on black and white film to create a sense of dream and other worldliness. Movies such as the classic Wizard of Oz and Wim Wender’s Wings of Desire are pictures Archer pays tribute to.

 

此想法受到了黑白电影中为创造梦幻和异世界的效果所使用的色彩技术工艺的影响。阿切尔以此向经典的《绿野仙踪》和维姆·文德斯的《柏林苍穹下》等电影致敬。

The paint quality is made up of thin veils of colour which are washed onto an ultra-smooth gesso surface; the tonal variations are built up and softened using the 'wet into wet' process. The materials and surfaces used are key to the work and add to its delicate timelessness. Ultimately, as time is spent looking at these paintings, they appear to hover and envelop the viewer. 

 

画面的质感来自于一层又一层叠涂在光滑的丙烯底上的薄而透明的颜色;以及用“湿画法”调和这些颜色后带来的整体色调上微妙又或明显的改变。所采用的材料和画板十分关键，它们会增强作品精妙的永恒感。最终，观赏这些画作时间越久，观众越会感到这些景色会呼之欲出，体会到“只缘身在此画中”的感觉。 

While looking at an object devoid of time and space, the viewer blurs out the unnecessary aspects. As the subject becomes abstract, the quality of the paint, color, and tone becomes equal to the subject matter. We are immersed in the experience and drift between the sensation of the element, the effect of the colors, and the drama of the tonal shifts.

 

当看到这种超越时空的作品，观众会自然地忽略掉一些不必要的部分。当主体变得抽象，画质、颜色和色调对主体而言都变得一样重要。各个元素带来的感官体验，每种色彩带来的渲染效果，以及色彩变换带来的情感触动，都让我们沉浸在这种体验中无法自拔。

I understand mannerism as a way to accept decisions in art as finite, and to conceptualize the art making process as a predetermined set of rules and procedures that function as its building elements. Just like the more or less visible pixels (picture elements) used in digital media. Combining familiar methods and pictorial styles has been informing my works in different ways, from retinal to conceptual.

 

我创作的前提， 来自对艺术决策有限性的肯定。 我把样式主义中，艺术创作系统和先决步骤观 念化，凸显其构建元素。正如各种数码媒介中的像素(图像的元素)，作品重组众所熟知的思维 方式和图像风格，渗透从视网膜到观念的不同层面。

Mining pop culture, art history, and commercial advertising for his source material, Wei creates paintings with photographic clarity and realism that belies their complex layers of visual and conceptual contradictions. Often blending multiple perspectives, scales and emphasizing surface, texture, and the effects of light, Wei’s compositions function as meditations on the interplay of illusion, representation, and reality, an interplay that is the very essence of painting itself.

 

汲取流行文化，艺术史，和商业广告为创作资源，魏晓光的绘画作品具有照相般的清晰度和 写实性，同时在复杂层次中，掩藏着视觉和观念的冲突。他的作品通常混合着多重视角、规模 变化，各种对表层，不同材质和光效的强调;魏晓光对作品的把握，呈现为对幻象、具象，与 写实之间互相作用深思——这也是绘画本身最核心互相作用之一。

Through a process that begins by constructing a digital collage of images of notable art historians and philosophers, commercial logos, Internet memes, and expressionistic brushstrokes, which he then renders in paint, Wei creates crisp, beguiling canvases that brim with allusion and reference yet yield only a labyrinth of illogical juxtapositions and indeterminate meanings. 

 

通过将知名的艺术史学者和 哲学家形象，商业标识，互联网模因(meme)，和具有表现性的绘画笔触相融合，魏晓光创 造出清脆而令人沉醉的画面;它们充满暗示和线索，却是并置而无逻辑、无法被定性的意义迷 阵。  

If Wei’s finely rendered paintings celebrate the medium’s expressive and illusionistic power, they also question the nature of images and our contemporary relationship to them by confounding rather than clarifying our quest for meaning. Indeed, at nearly every turn, Wei’s paintings call attention to their true subject, representation, and its ongoing capacity to seduce, mystify, and disrupt. 

 

如果说魏晓光精细描绘的画作炫示了绘画媒介的表现性和幻象的力度，它们同时也在用混 淆、而不是澄清观者所追求涵义的方式，质问着我们当代图像的本性。确实，几乎每一次魏晓 光的画作都在提醒观者其真正主题:具象，和它持续作用的诱惑、把事物神秘化而又戛然中 止。

 

 

Max Weintraub, 2015

马克斯·温特劳布,  2015 

For further information or press inquiries, please contact the gallery at info@christinepark.net.

ABOUT THE ARTISTS

Nick Archer

Born in the UK in 1963, Nick Archer studied at the Royal Academy Schools in London. He received several awards, including the Hunting Art Prize, the BP Portrait Award at the National Portrait Gallery (London), and the Figure Painting Award at the Discerning Eye Award. He has exhibited extensively in the UK and Europe.  His paintings were presented in several international art fairs in the US and Japan and were featured in museum exhibitions including the National Portrait Gallery, London and the Wandsworth Museum, London. His works are included in several international private, corporate and public collections, including the Satellite collection of the Hermitage Museum (Moscow), the Historic Royal Palaces at the Tower of London, and the Al-Sabah Family Collection (Kuwait). He lives and works in Rye, East Sussex.

尼克·阿切尔在1963年生于英国。他曾就读于伦敦皇家艺术学院 (Royal Academy Schools)，毕业后相继斩获亨町艺术奖 (Hunting Art Prize) 一等奖、在（位于伦敦的）英国国家肖像馆的BP 肖像画作艺术奖 (BP Portrait Award) 和洞察之眼 (Discerning Eye) 人物画像奖 (The Figure Painting Award) 等诸多奖项。 

其作品多次在英国和欧洲展出，并曾屡次呈现于美国、日本等各类国际艺术博览会，展出于多个美术馆、博物馆的展览中，如伦敦英国国家肖像馆 (The National Portrait Gallery) 和旺兹沃思博物馆 (The Wandsworth Museum) 等博物馆展览。他的作品被诸多国际知名私人、企业和公共机构收藏，包括埃尔米塔日博物馆 (Hermitage Museum) （莫斯科）的卫星收藏计划、位于伦敦塔的皇家历史宫殿 (The Historic Royal Palaces) 和萨巴赫家族（科威特）收藏 (The Al-Sabah Family Collection)。阿切尔现在工作和生活于英格兰东萨塞克斯郡。

Jenny Pockley

Born in the UK in 1972, Jenny Pockley gained a post graduate diploma from the Royal Academy Schools, London in 1997 after studying for a BA(Hons) Fine Art Degree at KIAD in Canterbury. 

She has exhibited extensively in London but has also displayed works in Bath, Paris, New York, San Francisco and Toronto. She has gained numerous commissions, both private and corporate, including for the Waldorf Astoria group and Tiffany’s. She now lives and works in Rye, East Sussex.

珍妮·波克利于 1972 年生于英国，目前在英国东萨塞克斯郡的拉伊生活和创作。她在坎伯雷特肯特艺术与设计学院 (KIAD)攻读荣誉艺术学士学位后，于1997 年获得英国皇家艺术学院 (Royal Academy Schools) 硕士学位。除了在伦敦举办过多次展览外，她也曾在巴斯、巴黎、纽约、旧金山和多伦多等地展出作品。许多私人和企业「包括华尔道夫集团 (Waldorf Astoria group) 和蒂芙尼公司 (Tiffany) 等」曾委托其进行创作。

Wei Xiaoguang

Born in 1986 in Inner-Mongolia, China, Wei Xiaoguang gained a BFA from the Central Academy of Fine Art in Beijing in 2010 and an MFA from Hunter College in New York in 2014. He has exhibited in New York, Shanghai and Beijing. Overcoming the distinction between representation and abstraction, Wei Xiaoguang’s work is deeply embedded in the post “Death of Painting” period. By carefully modulating effects of light, textures and surfaces, his paintings effectively combine multiple visual languages and artistic traditions. He lives and works in Beijing and Shanghai, where he is an instructor for the Institute of Management of Art and Design at the Central Academy of Fine Arts.

魏晓光1986年出生于中国内蒙古，2010年获得中央美术学院油画系学士，2014年获得纽约亨特学院艺术硕士，曾在纽约、上海和北京举办展览。他的作品有效结合多种视觉语言和艺术传统；通过仔细调整光线、质地和画面的效果，克服表现与抽象间的差异，其作品深深地嵌入了 "绘画终结"后的时期。魏晓光目前工作、生活于北京和上海，任教于中央美术学院（中法）艺术与设计管理学院。