CV

徐鹏翔XuPengXiang(Xiangzi)
徐鹏翔是一个完全自学成才的艺术家,工作居住在上海,
徐鹏翔是一个完全自学成才的艺术家,工作居住在上海,2008年开始从事艺术创作,并建立个人工作室.
其艺术创作理念是通过跨学科的知识和多种媒介组成,形式上涵盖观念、装置、绘画、摄影等。内容上具有某种精神指向性的动机,很多思想来源对传统道教和禅宗哲学在当下的思考。其作品中,各种偶发元素直接相互制约充满无形的张力和平衡,用简单呈现复杂,由无规律的、不寻常的、高度审美化的视觉带入,进而体验到超越表面现象地感受。他专注于通过艺术探索二元性与边界的概念,探讨随机元素连接并揭示核心,感性与理性的冲突,二重性导致多重性,可感知的类比等等,利用简单的程式化方式进行创作,最大自由地转化为观者易于感知的、简单、有趣味的视觉印象。Pengxiang Xu  is a completely self-taught artist, living and working in Shanghai ,  He established Art Studio in 2008.the concept of art creation through interdisciplinary knowledge and a variety of media, including the concept, the form of new media, photography and other contemporary elements, but there are still elements of traditional painting and sculpture etc.. There is a certain spiritual point of motivation, many of the source of thinking of the traditional Taoism and Zen philosophy in the current thinking. In his works, all kinds of incidental elements directly restrict each other with invisible tension and balance, with the simple present complex, two yuan into each other cross concept, highly aesthetic by irregular, unusual, and then into the visual, experience beyond the surface phenomenon, in seemingly random works, but the formation of the visual performance of concrete in the subconscious. He concentrate on the concepts through artistic exploration two yuan and the boundary of random elements connected, and reveal the core, sincere emotional and rational conflict, duality leads to multiplicity, perceived analogy, creation and programming simple, most freely into the viewer, simple, easy to perceive interesting vision impression.
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1978年–   生于山西太原,现居上海 , Born in Taiyuan, Shanxi, now lives in Shanghai.
1998年–   山西师范学院中文系汉语言文学专业 , Chinese Language and Literature_Shanxi
2002年–   设计师,摄影师,美术指导,Designer , Photographer,Art director_ Shanghai
2008年–   艺术家,手艺人 , Artist,Craft man _Shanghai
2014年–

  • 《重生》——Lomography跨界艺术展 北京 798″Rebirth” – Lomography cross border art exhibition Beijing 798_Beijing

2015年–

  •   “10 Cabinets of Magaziners十个杂志人”的装置作品展 上海 衡山•和集,    “10 Cabinets of Magaziners” Installations Group Exhibitions _Shanghai  |
  • “生物眼看世界”徐鹏翔个人作品展  上海 半舍艺术空间 Pengxiang Xu  Solo Exhibition _Shanghai 

2016年–

  • “陸拾回—An Art Exhibition for Leslie Cheung ”75 Champs Elysee!9 artists from 6 countries met in Paris for a theme exhibition in a famous dead star!!About his life!9名来自6个国家的艺术家在法国巴黎艺术大都会,纪念张国荣当代绘画展。

2017年–

  • 上双51人项目-改造相机的人 THE CAMERA ALCHEMIST 51personae.shanghai biennale.

我的灵感大部分来自于大自然与人类文化互动的观察,不断地学习研究,直觉的刺激和情感的抒发,注重使用简约的手段化解复杂深刻的主题。理念上也反映了我对人生的态度“零”“一画”“少即多”“至上主义”,这些传统道教及禅宗的思想都承载着我作品内容的丰富性,而不是基于物质世界的具象重复,也非某种明确动机或者背后的意义,只是形式问题。不涉及任何政治、经济、种族、宗教命题。它是非物质的,自然世界情感的映射,回归于人本体存在于宇宙的感知,对人内心世界的矛盾精神层面的探讨表达,旨在唤起人们对自然而然的情感关注。绘画是最简单直接的创作过程,是我思考冥想的方式,类似于关宗教的修、悟。 简单程式化方式,利用平衡抽象主义,创建可循环的往复,来还原传达创造的真实冲动,并非主观上的虚无主义。超越世俗的 ,虔诚的探究生命原始本质,在那里以最纯净的存在方式 ,更接近一个是在头脑实现中的虚无。这种认同普遍存在,因为艺术必然会将主题、技术和概念都还原为抽象美学的层次,以达到进一步走向纯粹的“空”。My inspiration comes from the observation of human nature and culture interact, constantly learning research, stimulate intuition and emotional expression, focusing on the use of simple means to resolve complex and profound themes. The concept is also reflected in my attitude toward life, “zero”, “a painting”, “less is more” “supremacy”, These traditional Taoism and Zen thought all carry the richness of the content of my work,, rather than repeating based on the material world of figurative nor a species clear motive or meaning behind, but the question of form. It does not involve any political, economic, ethnic, religious proposition. It is immaterial, natural world emotional mapping and return to the human body in the universe of perception, to investigate the expression of one’s inner spiritual world of contradictions,The aim is to arouse people’s attention to the natural emotion.. Creation process is similar to off religious repair, Wu. Simple stylized manner, with the balance abstraction, create reciprocal recyclable, creating convey to restore the true impulse, not nihilism subjective. Beyond the mundane, pious life to explore the nature of the original, where the most pure existence, is closer to a realization in the minds of nothingness. This common identity, because art is bound to be the theme, techniques and concepts are reduced to the level of abstraction of aesthetics, in order to achieve further towards pure “empty.”

 

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