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史慧妍-8岁-小仓鼠
来自一朵儿童美术馆
李霁洲-10岁-盆景
来自一朵儿童美术馆
李张沙桐-6岁-爬树的豹子
来自一朵儿童美术馆
潘劲松-7岁-采棉花
来自一朵儿童美术馆
罗明悦-8岁-夸父逐日
来自一朵儿童美术馆
刘天-8岁-全家福
来自一朵儿童美术馆
廖生-8岁-捡飞机
来自一朵儿童美术馆
刘怡婷-8岁-我妈妈
来自一朵儿童美术馆
Tool Man-1
整个社会的发展如同一条机械加工生产线一般，只能不断的向前。而社会上的每一个人便是这条生产线上不同的工具，有着不同的属性、作用。如果你坏掉了，便会换上新的工具，从不会因为你的缺席而停止运转。 The development of the society as a mechanical processing production line, only forward. And everyone in the society is the different tools on the production line, have different properties, function. If you is broken, we can change into new tools, the production line will not stop because of your absence.
Mei Ziying
Tool Man-2
整个社会的发展如同一条机械加工生产线一般，只能不断的向前。而社会上的每一个人便是这条生产线上不同的工具，有着不同的属性、作用。如果你坏掉了，便会换上新的工具，从不会因为你的缺席而停止运转。 The development of the society as a mechanical processing production line, only forward. And everyone in the society is the different tools on the production line, have different properties, function. If you is broken, we can change into new tools, the production line will not stop because of your absence.
Mei Ziying
Strike
柔软的女人裸体与坚硬几何的碰撞。 Soft woman naked collisions with solid geometry.
Mei Ziying
无题-(1)
在一个还未被开发地大山之中，感受到与城市相比较之下更多的那份惬意。 In a mountain that has not yet been developed, we feel more comfortable with the city compared.
Wu Qiong
无题-(2)
石头、泥土、沙粒、风等一系列因素的相互碰撞而产生的自然风貌，让人被它吸引，就像一个为梦想奋斗的人一路奔波的过程。 Stone ,clay ,sand,wind and other factors collide with each other to produce a natural style,,so that people are attracted to it , it likes a dream for people struggling all the way through the process.
Wu Qiong
无题-(3)
通过对材料的不同选择来探寻更过的形式语言，来展现表达对象的丰富性与可读性。 Through the different choice of materials to explore more .formal language, to show the richness and readability of the object.
Wu Qiong
Sharpen Man
现在这个年代，磨刀工越来越少了，这个职业也许再过几年就会消失，无意中看到这个场景，让我想起小时候，于是这个作品就出来了。In the current society,sharpen man is getting less and less,maybe the occupation will disappear ，this occupation reminds me of when I was child,so this work came out.
Sun Ying
GETTING CLOSE TO EACH OTHER
这个系列我称之为“时代的虚无之语“。柏拉图《智者》所说，世界是混沌的世界，是流动中正在生成的事物。人类对物质世界追求发展到了更“先进“的今天，来自对“有”的不断追问又或是权利意志的结果——如战争的爆发，环境的污染等等。我在作品里从我个人隐秘的存在经验与世界进行创作。画中的元素来自世界图像的收集，在图像与视觉里形而上的重构表现人的实际生存状况和精神追求。 This series is called "Language in Nothingness of The Times“Plato has once said," the world is a world of chaos,being itself in everchanging." Thanks to the constant questioning about exist or the pursuit of right and will,human beings' desire of a more developed material world now seems coming ture—— a world with wars and detiriating environment,etc. In my works ,I tried to combine my personal experience as a Being with the external world. The images in my works may come from any corner of the world,aiming to reflect the real living condition and the spiritual pursuit of mankind by reconstructing the relationship between image and vision metaphysically.
Chu Tianyi
Dream
在自己的梦里，我无法摆脱自己的噩梦，我被这些所谓的“规则”所控制，不知道怎么去挣脱，它们随时提醒我要如何“掩饰”自己。译文 In my dream, I can't get rid of my nightmare, I was controlled by these so-called "rule", and I don't know how to break that, they always remind me of how to "hide"myself.
Sun Ying
Who Am I
这个阶段来说，我不知道自己该去做什么，自己很难找到自己，根据“自己”而创作的，确切的说，这个“自己”很难找到。译文 At this stage, I don't know what to do, it is difficult to find themselves, according to "me", specifically, the "me" it's hard to find.
Sun Ying
WHERE I AM - WHERE YOU ARE
这个系列里《我在哪里——你又在何处？》作品中，诡异的绿色蘑菇云，扭动的黑山，在我们整个身外的广阔世界，正像杂沓纷纭的傀儡演出，不断的从舞台上通过，这个世界仍在不断扩张，我们拥有更丰富的社会产物，然而这个时代个体生存体验却自为的出现虚无的精神状况，它夹杂着哀叹，憧憬，无知，并渴望找到自己存在的意义。 In the series"Where I AM——Where You Are?",strang green mushroom cloud and twisted black mountains are like puppets,giving us endless performance in the vast space we live in The world is still expanding,and we never possess so much products than ever before.But,our living experience for itself has given birth to spiritual emptiness mixed with lament longing and ignorance,and everyone is dying to find the meaning of living.
Chu Tianyi
WHAT IS LIKE YOU THE MOST
空气停滞的夜晚 杂乱的藤蔓无序生长 我不知道你是什么 什么和你最相似 黑夜里见到你的行踪 让我满心欢喜 In a stagnant evening vines run wild. I know not who you are I konw not what you are like. I know I an filled with joy when I see you in the dark.
Chu Tianyi
Peeping
佩索阿教会我如何在一个人的时候发现另一种活着的东西，并且它们比人有意思一千倍、一万倍……/Pessoa taught me how to find another alive thing when I stay alone，which is tens of thousands of times more interesting than human being.
Mu Chunchun
10cm - 1m
佩索阿教会我如何在一个人的时候发现另一种活着的东西，并且它们比人有意思一千倍、一万倍……/Pessoa taught me how to find another alive thing when I stay alone，which is tens of thousands of times more interesting than human being.
Mu Chunchun
Now I Am A Piece Of Blue Color
佩索阿教会我如何在一个人的时候发现另一种活着的东西，并且它们比人有意思一千倍、一万倍……/Pessoa taught me how to find another alive thing when I stay alone，which is tens of thousands of times more interesting than human being.
Mu Chunchun
观自在
心经语。 The words in the Prajnaparamita.
Wu Chaoqun
陋室铭
陋室铭，篆书作品。 A humble abode though this is, my virtues make it smell sweet.
Wu Chaoqun
永生
死，作为生的一部分永生。 The power of dead.
Wu Chaoqun
Far Away The Las Meninas
法国哲学家米歇尔·福柯在《词与物》书中第一章以《宫娥》为讨论的文本，通过探讨凝视与再现的问题，来解构再现的视觉秩序。其次,毕加索也画过很多《宫娥》的变体画。所以我选择了《宫娥》作为哲学理论和绘画实践的双重研究作品。 在我的作品中，首先通过分析原作中的点线面和黑白灰构成因素，借鉴设计构成来重新解构作品。用疏密虚实不同的直线和圆将具象的人物解构为抽象的平面的几何形，同时把古典的写实的色彩转化为黑白灰，用蓝灰色既打破单调的黑白构成，冷蓝色的灰又与理性的几何形相呼应。圆形像是舞台上的聚光灯直射到人物上，强化了原作中的舞台感和戏剧性。同时圆形和组成人物的直线形成曲直对比，又起到分割画面的作用。 Philosopher Foucault in the first chapter in the book " The Order of Things " ，regard”Las Meninas”as to discussion text, by discussing gaze and reproduce relationship, to deconstruct the visual reappearance of the order. Second, Picasso painted many Las Menians variants of the painting. So I chose "Las Menians“ as a philosophical theory and dual research works of painting practice. In my work, first of all, through the analysis of the original and black and white ash composition factors of point, line and plane, in reference to the design form to deconstruction. With density of the actual situation of different linear and circular representation of deconstruction for the abstract plane geometric characters, at the same time, the classical realistic color into black and white ash, break the monotony of both black and white with blue gray, cold blue grey and that coincide with rational geometry. Roundness like the stage of the spotlights ，illuminate on the people in the painting, to strengthen the original stage of sense and dramatic. At the same time of circular and linear matters and contrast of the characters, and play the role of split work.
Wang Jinshuai
The Mirror-Dwelling In The Fuchun Mountains
作品试图运用平面化的造型语言，转变材料，结合东西方的绘画元素。因为江浙一带素有“江南水乡”之称，水平如镜的富春江面上倒映着两岸的峰峦坡石，似秋初景色，树木苍苍，疏密有致地生于山间江畔，村落、平坡、亭台、渔舟、小桥等散落其间。 因为曲线如水，所以作品借鉴中国传统的水纹和马远的《水图》，并结合抽象绘画的元素，运用几何的曲线来解构中国画中的笔墨。同时又拼贴了像水滴的椭圆形，通过水纹和物像的延续从而打破椭圆的边缘，达到虚实相生，水乳交融的境界。透过现代感椭圆的镜子，仿佛穿越历史的长河，使平面抽象的画面可以追本溯源。画面中原作的特写镜头，映射出古朴真实的原始镜像。 I try to use the plane of modeling , changing material, combination of eastern and western painting elements. Because of Jiangsu and Zhejiang area, known as “jiangnan water country ”, calm water surface of the Fuchun river as a mirror, and the landscape reflected in the river. Such as both sides of the rock slope, overlapping or early autumn scenery, trees, looked like was born in the mountain river, village, flat slope, strew pavilions, fishing boat, Bridges, etc. Because curve like water, so I draw lessons from the traditional Chinese lines and Ma Yuan "water figure”, and combine with abstract painting elements, use geometrical curve to deconstruct ink in Chinese painting. At the same time collage the oval like drops of water , through the continuation of water lines and the eyeball to break the edge of the ellipse, begets to the actual situation, the state of complete harmony. Through modern elliptical mirror, as if through river of the long history, make flat abstract images of their origins. Images of the close-up of the original mapping out of primitive simplicity is true of the original image.
Wang Jinshuai
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