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荧光闪烁
Shu Ziyun
荧光闪烁2
Shu Ziyun
Scene
I travel in Guilin, I saw someone in the lake boating, the screen is very harmonious, so there is the impulse to draw down.
Zhang Wenyan
Lost In Her Tree
Once I and my classmates to the forest hiking, when we play the game, playing half of the time, I suddenly looked back at her, the moment her image into my eyes.
Zhang Wenyan
Night Snow Mountain
This is the ski resort and the following accommodation to provide accommodation for the house, the night sky is very transparent, I went out to see the stars, the moonlight to the snow-capped mountains, mapping snow-capped mountains look like.
Zhang Wenyan
Spalling
Not only the qiangpi but the years！
Yu Muzhou
Yearning
这幅作品所描绘的是我所向往的生活，像海子眼中的"面朝大海，春暖花开"。画面即是我眼中自由而浪漫的模样。
Hao Yanqing
People Around
People always leave us a deep impression,for a long time,just remember their characteristics.
Xie Juan
I Am In The Color Of Information
Today is an information society,so the information color is essential,through the information color to express themselves will be more clear and convenient.
Xie Juan
Me Or We
IF you want it ,work for it. It's that simple.
Li Xiaobo
Crazy Grass Series NO.17
"At the end of the series of cursive language" print prints in the relatively high requirements of platemaking and printing techniques, with the background color as an example, the same color printed at least seven times more than this, overprint, look at the picture in the background, there is a thick, self-evident beauty impressed us. The picture in different shades of grey with better, are the reflection of a city development, the rise of skyscrapers is particularly oppressive, lack of a kind of sweet and the beauty of the traditional culture, the complex mentality of today's urban youth to seek freedom in the scene of debauchery in the environment; and the use of retractable pen with cursive calligraphy artistic conception then, the more prominent the of traditional culture, and spiritual and artistic pursuit of gesture, the collision between the two, is to describe the present a new generation of power should yearn for the vitality of youth, and the face of traditional culture, emotion and power should be inside.
Jia Yufei
Crazy Grass Series NO.16
"At the end of the series of cursive language" print prints in the relatively high requirements of platemaking and printing techniques, with the background color as an example, the same color printed at least seven times more than this, overprint, look at the picture in the background, there is a thick, self-evident beauty impressed us. The picture in different shades of grey with better, are the reflection of a city development, the rise of skyscrapers is particularly oppressive, lack of a kind of sweet and the beauty of the traditional culture, the complex mentality of today's urban youth to seek freedom in the scene of debauchery in the environment; and the use of retractable pen with cursive calligraphy artistic conception then, the more prominent the of traditional culture, and spiritual and artistic pursuit of gesture, the collision between the two, is to describe the present a new generation of power should yearn for the vitality of youth, and the face of traditional culture, emotion and power should be inside.
Jia Yufei
Crazy Grass Series NO.12
"At the end of the series of cursive language" print prints in the relatively high requirements of platemaking and printing techniques, with the background color as an example, the same color printed at least seven times more than this, overprint, look at the picture in the background, there is a thick, self-evident beauty impressed us. The picture in different shades of grey with better, are the reflection of a city development, the rise of skyscrapers is particularly oppressive, lack of a kind of sweet and the beauty of the traditional culture, the complex mentality of today's urban youth to seek freedom in the scene of debauchery in the environment; and the use of retractable pen with cursive calligraphy artistic conception then, the more prominent the of traditional culture, and spiritual and artistic pursuit of gesture, the collision between the two, is to describe the present a new generation of power should yearn for the vitality of youth, and the face of traditional culture, emotion and power should be inside.
Jia Yufei
浮萍
生命的存在形式
Chen Yongren
成长
自然界或人类的一种状态
Chen Yongren
呐喊
Chen Yongren
依.依
山岳伟岸，水溶静柔，山水依依，不须语言也交流； 伟岸如男，静柔似女，人与自然，相伴相生； 静谧地伫立 静谧地溶落； 水乳相溶里， 那-- 繁衍传承的人类 那-- 浩渺无尽的自然
Chen Yongren
Evening Show
I don't believe you still wish to fly...while your wings had been cut
Fan Kun
夏雨声声1
“土茅间内机杼声，灯盏框外事不闻，奈何，犹听夏雨，声声情。”夏布已传承二千余年，作为非物质文化遗产，自身质朴简约、无拘无束、与自然融为一体。作品以无色夏布作为形式框架，并填充絮棉，通过扎，编，绕，贴，缝，结，缠，排列，悬挂等综合技法，在其夏布表面进行纹理演绎变形，营造出“奇秀多变”的艺术形象，在平淡中寻异真。十十百百，皆错行之，散散落落，七七八八。夏布的质朴，纯粹，以新的装置形式来表现传统的夏布，具有极强的律动性。一场夏雨过后，一支支应邀而起的竹笋，正用寂静的心跳回应着夏的召唤。
Wang Yan
夏雨声声2
“土茅间内机杼声，灯盏框外事不闻，奈何，犹听夏雨，声声情。”夏布已传承二千余年，作为非物质文化遗产，自身质朴简约、无拘无束、与自然融为一体。作品以无色夏布作为形式框架，并填充絮棉，通过扎，编，绕，贴，缝，结，缠，排列，悬挂等综合技法，在其夏布表面进行纹理演绎变形，营造出“奇秀多变”的艺术形象，在平淡中寻异真。十十百百，皆错行之，散散落落，七七八八。夏布的质朴，纯粹，以新的装置形式来表现传统的夏布，具有极强的律动性。一场夏雨过后，一支支应邀而起的竹笋，正用寂静的心跳回应着夏的召唤。
Wang Yan
夏雨声声3
“土茅间内机杼声，灯盏框外事不闻，奈何，犹听夏雨，声声情。”夏布已传承二千余年，作为非物质文化遗产，自身质朴简约、无拘无束、与自然融为一体。作品以无色夏布作为形式框架，并填充絮棉，通过扎，编，绕，贴，缝，结，缠，排列，悬挂等综合技法，在其夏布表面进行纹理演绎变形，营造出“奇秀多变”的艺术形象，在平淡中寻异真。十十百百，皆错行之，散散落落，七七八八。夏布的质朴，纯粹，以新的装置形式来表现传统的夏布，具有极强的律动性。一场夏雨过后，一支支应邀而起的竹笋，正用寂静的心跳回应着夏的召唤。
Wang Yan
互驯1
《互驯》的媒介材料是纤维中的毛线和皮，其材质柔美的触感和漆的空灵、神秘、平静有一种天然的契合。小小地改变漆器的基本属性，通过与纤维的置换与嫁接，把我们熟知的审美过滤，链接无限的可能。“一位好的艺术家至少要会五种艺术语言”，达利如是说。艺术语言的拓展能将传统的观念、思想、形式延续成新的实验课题。以漆载道，加以新材料的介入从某种意义上打破了传统漆器的例行轨道，从而产生了一种鲜活的质感，多变的层次以及新的审美知觉。设计《互驯》时，通过借助不同的材料与工艺手段，将色彩、空间、形状、质感及情感上的潜在价值呈现出来。运用密集柔软的肌理表现线性的集合，同时与漆内层的金粉线性装饰遥相呼应，营造出一种刚毅而不失柔美的视觉感受。我努力表达我对传统艺术的认识，两者的结合，使我认识到这样的一种新的可能性，它们既是纤维，又是漆器，或许有点传统工艺的味道，但却赋予更多的含义。
Wang Yan
互驯2
《互驯》的媒介材料是纤维中的毛线和皮，其材质柔美的触感和漆的空灵、神秘、平静有一种天然的契合。小小地改变漆器的基本属性，通过与纤维的置换与嫁接，把我们熟知的审美过滤，链接无限的可能。“一位好的艺术家至少要会五种艺术语言”，达利如是说。艺术语言的拓展能将传统的观念、思想、形式延续成新的实验课题。以漆载道，加以新材料的介入从某种意义上打破了传统漆器的例行轨道，从而产生了一种鲜活的质感，多变的层次以及新的审美知觉。设计《互驯》时，通过借助不同的材料与工艺手段，将色彩、空间、形状、质感及情感上的潜在价值呈现出来。运用密集柔软的肌理表现线性的集合，同时与漆内层的金粉线性装饰遥相呼应，营造出一种刚毅而不失柔美的视觉感受。我努力表达我对传统艺术的认识，两者的结合，使我认识到这样的一种新的可能性，它们既是纤维，又是漆器，或许有点传统工艺的味道，但却赋予更多的含义。
Wang Yan
互驯3
《互驯》的媒介材料是纤维中的毛线和皮，其材质柔美的触感和漆的空灵、神秘、平静有一种天然的契合。小小地改变漆器的基本属性，通过与纤维的置换与嫁接，把我们熟知的审美过滤，链接无限的可能。“一位好的艺术家至少要会五种艺术语言”，达利如是说。艺术语言的拓展能将传统的观念、思想、形式延续成新的实验课题。以漆载道，加以新材料的介入从某种意义上打破了传统漆器的例行轨道，从而产生了一种鲜活的质感，多变的层次以及新的审美知觉。设计《互驯》时，通过借助不同的材料与工艺手段，将色彩、空间、形状、质感及情感上的潜在价值呈现出来。运用密集柔软的肌理表现线性的集合，同时与漆内层的金粉线性装饰遥相呼应，营造出一种刚毅而不失柔美的视觉感受。我努力表达我对传统艺术的认识，两者的结合，使我认识到这样的一种新的可能性，它们既是纤维，又是漆器，或许有点传统工艺的味道，但却赋予更多的含义。
Wang Yan
互驯4
《互驯》的媒介材料是纤维中的毛线和皮，其材质柔美的触感和漆的空灵、神秘、平静有一种天然的契合。小小地改变漆器的基本属性，通过与纤维的置换与嫁接，把我们熟知的审美过滤，链接无限的可能。“一位好的艺术家至少要会五种艺术语言”，达利如是说。艺术语言的拓展能将传统的观念、思想、形式延续成新的实验课题。以漆载道，加以新材料的介入从某种意义上打破了传统漆器的例行轨道，从而产生了一种鲜活的质感，多变的层次以及新的审美知觉。设计《互驯》时，通过借助不同的材料与工艺手段，将色彩、空间、形状、质感及情感上的潜在价值呈现出来。运用密集柔软的肌理表现线性的集合，同时与漆内层的金粉线性装饰遥相呼应，营造出一种刚毅而不失柔美的视觉感受。我努力表达我对传统艺术的认识，两者的结合，使我认识到这样的一种新的可能性，它们既是纤维，又是漆器，或许有点传统工艺的味道，但却赋予更多的含义。
Wang Yan
往返于痕与透之间1
《往返于痕与透之间》折射出的璀璨将光的身影定格成最隽永的纪念，晶莹剔透的质感辅之芜杂的肌理表达，从无到有，通过灯这个载体，捕捉到它拢聚的外缘痕迹。当它和光线纠缠碰撞时，以一种无知的状态悄然制造出生动的视觉瞬间。
Wang Yan
往返于痕与透之间2
《往返于痕与透之间》折射出的璀璨将光的身影定格成最隽永的纪念，晶莹剔透的质感辅之芜杂的肌理表达，从无到有，通过灯这个载体，捕捉到它拢聚的外缘痕迹。当它和光线纠缠碰撞时，以一种无知的状态悄然制造出生动的视觉瞬间。
Wang Yan
Order Rule NO.2
Each of us is a point in the process of the nature and society, no order, no real, natural system has its own rules and laws, everything in the world must be ready all according to certain rules and order.
Qin Shuaishuai
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