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MICRO-EXPRESSION-1
在微观世界中，哪怕最小的尘埃都有它独特的表情。我运用彩色铅笔的丰富层次和颜色来营造一个梦幻和想像的空间。 In the microscopic world, even the smallest dust has its unique expression. I use the rich levels and colors by color pencils to create a fantastic and imaginative space.
Li Muzi
MICRO-EXPRESSION-2
在微观世界中，哪怕最小的尘埃都有它独特的表情。我运用彩色铅笔的丰富层次和颜色来营造一个梦幻和想像的空间。 In the microscopic world, even the smallest dust has its unique expression. I use the rich levels and colors by color pencils to create a fantastic and imaginative space.
Li Muzi
MICRO-EXPRESSION-3
在微观世界中，哪怕最小的尘埃都有它独特的表情。我运用彩色铅笔的丰富层次和颜色来营造一个梦幻和想像的空间。 In the microscopic world, even the smallest dust has its unique expression. I use the rich levels and colors by color pencils to create a fantastic and imaginative space.
Li Muzi
春
这幅作品是自16年初从版纳写生之后创作的，画中的植物名为“酸脚杆”，是我在版纳植物园中发现的最为有趣的植物。它有着深绿色厚实的叶子，叶脉深陷，由斑驳的老干开始笔直地向上生长，最后在枝头结下串状花朵，花朵的重量压弯新枝。此时却已然过了花期，枝头的果实由粉色变为深紫色，却有别样的美感。鸸鹋是世界上最古老的鸟种，退化的翅膀和其悠然自得的闲散样子是吸引我的原因。在我的想象中，美丽的热带雨林总会发生许许多多的故事，高大茂密的灌木为动物们提供天然的避所，鸸鹋这种古老的大型鸟类动物与这种有趣的灌木搭配起来更显出一种古老的，神秘的感觉。画面中所有动物朝向是相同的，植物是静止的，动物是运动中的片刻怔楞，茂盛的灌木下藏身的小动物，一瞬间定格的原因便是那不为人知的故事。这就是我所追求的，神秘的，仪式感的，雨林中发生的一些什么
Li Jiatong
山·绿·时
山是永恒不变的，而水是瞬息万变的，蝴蝶总向往着那些虚幻而美好的东西。万物相生相克，山水二字变能概括世间万物。这幅画是我对时间的一种思考。
Li Jiatong
山·绿·时-2
山是永恒不变的，而水是瞬息万变的，蝴蝶总向往着那些虚幻而美好的东西。万物相生相克，山水二字变能概括世间万物。这幅画是我对时间的一种思考。
Li Jiatong
Red Tide Tea Extravagant
作品名：《赤潮荼靡》； 作品材料：羊毛毡与蓝靛染真丝； 尺寸：宽2.4m；高0.6m； 制作工艺：羊毛毡、植物染； 展现形式：悬挂展示、LED小灯； 作品简介： 鲜艳的颜色模仿自然形态中的赤潮，色彩斑斓的外貌下却是摄人心魄的美杜莎 “水者何也，万物之源本也，诸生之宗室也。”呼吁大家与自然和谐共生，还原海洋本来的面貌。 ／ Title: "red tide tea extravagant"; Works of materials: wool felt and blue indigo dye silk; Size: width 2.4m; high 0.6m; Production process: wool felt, plant dyeing; Show form: hanging display, LED small lights; Brief introduction: bright colors to imitate the natural form of red tide, colorful appearance is breathtaking Medusa "Water who also, the source of all things also, the students of the monks also." Call for harmony with nature and harmony, to restore the original appearance of the ocean.
Li Jingjing
Line
作品名：《线》； 作品材料：布； 尺寸：宽1.5m；高1.2m； 制作工艺：珩缝； 展现形式：壁挂； 作品简介： 自然中处处存在的线性特征 光的形态 岩石的形态 Title: "line"; Work material: cloth; Size: 1.5m wide; 1.2m high; Production process: honing; Show form: wall hanging; Introduction: There are linear features everywhere in nature The shape of the rock
Li Jingjing
別离，在出发的地点
人类一直被生老病死爱别离所困惑、恐惧，而这是每个生物都要面对的。生命如是进展，别离就此发生。 就如博尔赫斯的诗： 上帝的长夜没有尽期 你的肉体只是时光 不停流逝的时光 你不过是每一个孤独的瞬息 作品五个分类包含着从微观到宏观的五行之间我对别离的认知观和生命观。
Tian Tianjiao
消耗
日常行为对自我的消耗，用影像波点与草间弥生作品里的波点世界进行替换，在探讨日常的行为动态的意义。它充斥着我们的生活，消耗着我们的时间。
Tian Tianjiao
城市森林
城市高楼林立，有人看到了来自都市的压抑，却没有发现晚霞城市的美丽。
Chen Pengyu
象
Chen Pengyu
18少女
Chen Pengyu
Impasse
万物皆有生命，但是生命有限。当植物不再需要阳光，水，养料.....当它以永生的姿态出现在枯木面前，光秃的枝干冒出大大小小的绿精灵，它们是“生命之光”，是永恒的象征。枯木逢春又一生，以植物为创作元素，结合面塑这一传统工艺，枯木遇面粉，加水即复活。
Su Jing
Frits In Autumn
大学期间接触到面塑，被中国传统艺术深深吸引。我本身是学习绘画的，一直探索想把二者结合，让更多我们年轻一代人也了解这一传统艺术。以自然中树木、花朵、果实等元素，采用面塑技法，创作完成的浮雕效果平面作品。
Su Jing
Life And Growth In Nature
肉肉植物作为一种懒人植物，但是也需要阳光、水、温度......你不经意忽略它或是随着它的生长，有可能它就不是原来的样子了，严重的甚至是离开你。有过这样的经历，多次尝试研究，用综合材料捏制了这款纯永生手工植物，再也不用担心照顾它。亦真亦假，另一种真实的永久存在。
Su Jing
Winter - Warm Sun
家乡多年未归，沿着儿时记忆中的路，走到了一个似曾相识的地方，见到的，依旧是那片暖阳，照耀的却不在是那梦里的地方 I have not returned hometown for many years, along the road of childhood memory, walked to a familiar place, I see, still is the warm sun, not the place of the dream.
Wang Yuwei
逝去无名之七
随着时代的变迁，科技日益发达，人们的生活也随着变得丰富多彩。信息时代的到来让我们的时间走动变得越来越快速，我们的文化亦是如此。几十年前的社会大环境跟这个时代完全是两个摸样，有的东西产生了，有的东西消失了。如此迅速得消失在时代的变迁下、消失在文化的改革下、消失在人民的记忆里！那种集体的记忆慢慢消散，不再有大广播、黑白电视、收音机、28寸的凤凰牌自行车等等记忆再次出现。怀旧的情节解不开我们对过去的映像的留恋，点点滴滴的生活、行为方式其实都在表露出从那个时代走过来的痕迹。然而我们今天的生活变得那么奢欲、无聊、空虚、浮躁、梦幻、压抑，这是我们所要得到的生活吗？当然今天我们的确过得比以前更加的丰富了。但是我们也在失去一些值得我们去留恋的纯真。这个年代的记忆对于我们来说就是空白，时代变化太快。我们需要停下来看一看我们的周围，我们的生活！系列作品《逝去无名》就是从这个出发点来构建的框架：那个时代给我们留下来的点滴回忆随着时间正在慢慢消逝能留给我们的东西越来越少，就如画中的空间，我们能记得住的还剩在什么？只是无名而已。无名正是那个时代的纯真，失去的就是纯真，我们所要回忆、所要追求的正是我们在时间的隧道中丢失的无名。 As the change of The Times, science and technology increasingly developed, the life of people with becomes rich and colorful. The arrival of information age makes us walking time becomes more and more quickly, our culture as well. Decades ago, the social environment with this era is completely two touch kind, there is something that is produced, some things disappear. So quickly disappeared under the changes of The Times, disappear under the reform of the cultural, disappear in people's memory! The sort of collective memory dissipate, there will be no major broadcast, black and white television, radio, 28 inches, phoenix bicycle and so on memory again. Nostalgic plot solution doesn't open our image of the past linger, little drops of life, the behavior way are actually express came up from the era of trace. However, today's life has become so love-ridden self, boring, empty, impetuous, dream, depression, this is what we are to get a life? Of course we did today is more abundant than before. But we are losing some pure worth recalling. The memory of the s for us is blank, times change too fast. We need to stop and take a look at all around us, our life! Series \"lost unknown\" is from the starting point to build the framework: the time for us to stay a little memory is slowly faded over time can leave us less and less, the space in the picture, we can remember left in what? Just the unknown. Unknown it was the age of innocence, lost is pure, we have to recall, to pursue what we lost in the time tunnel of the unknown.
Liang Xucai
逝去无名之一
随着时代的变迁，科技日益发达，人们的生活也随着变得丰富多彩。信息时代的到来让我们的时间走动变得越来越快速，我们的文化亦是如此。几十年前的社会大环境跟这个时代完全是两个摸样，有的东西产生了，有的东西消失了。如此迅速得消失在时代的变迁下、消失在文化的改革下、消失在人民的记忆里！那种集体的记忆慢慢消散，不再有大广播、黑白电视、收音机、28寸的凤凰牌自行车等等记忆再次出现。怀旧的情节解不开我们对过去的映像的留恋，点点滴滴的生活、行为方式其实都在表露出从那个时代走过来的痕迹。然而我们今天的生活变得那么奢欲、无聊、空虚、浮躁、梦幻、压抑，这是我们所要得到的生活吗？当然今天我们的确过得比以前更加的丰富了。但是我们也在失去一些值得我们去留恋的纯真。这个年代的记忆对于我们来说就是空白，时代变化太快。我们需要停下来看一看我们的周围，我们的生活！系列作品《逝去无名》就是从这个出发点来构建的框架：那个时代给我们留下来的点滴回忆随着时间正在慢慢消逝能留给我们的东西越来越少，就如画中的空间，我们能记得住的还剩在什么？只是无名而已。无名正是那个时代的纯真，失去的就是纯真，我们所要回忆、所要追求的正是我们在时间的隧道中丢失的无名。 As the change of The Times, science and technology increasingly developed, the life of people with becomes rich and colorful. The arrival of information age makes us walking time becomes more and more quickly, our culture as well. Decades ago, the social environment with this era is completely two touch kind, there is something that is produced, some things disappear. So quickly disappeared under the changes of The Times, disappear under the reform of the cultural, disappear in people's memory! The sort of collective memory dissipate, there will be no major broadcast, black and white television, radio, 28 inches, phoenix bicycle and so on memory again. Nostalgic plot solution doesn't open our image of the past linger, little drops of life, the behavior way are actually express came up from the era of trace. However, today's life has become so love-ridden self, boring, empty, impetuous, dream, depression, this is what we are to get a life? Of course we did today is more abundant than before. But we are losing some pure worth recalling. The memory of the s for us is blank, times change too fast. We need to stop and take a look at all around us, our life! Series \"lost unknown\" is from the starting point to build the framework: the time for us to stay a little memory is slowly faded over time can leave us less and less, the space in the picture, we can remember left in what? Just the unknown. Unknown it was the age of innocence, lost is pure, we have to recall, to pursue what we lost in the time tunnel of the unknown.
Liang Xucai
逝去无名之二
随着时代的变迁，科技日益发达，人们的生活也随着变得丰富多彩。信息时代的到来让我们的时间走动变得越来越快速，我们的文化亦是如此。几十年前的社会大环境跟这个时代完全是两个摸样，有的东西产生了，有的东西消失了。如此迅速得消失在时代的变迁下、消失在文化的改革下、消失在人民的记忆里！那种集体的记忆慢慢消散，不再有大广播、黑白电视、收音机、28寸的凤凰牌自行车等等记忆再次出现。怀旧的情节解不开我们对过去的映像的留恋，点点滴滴的生活、行为方式其实都在表露出从那个时代走过来的痕迹。然而我们今天的生活变得那么奢欲、无聊、空虚、浮躁、梦幻、压抑，这是我们所要得到的生活吗？当然今天我们的确过得比以前更加的丰富了。但是我们也在失去一些值得我们去留恋的纯真。这个年代的记忆对于我们来说就是空白，时代变化太快。我们需要停下来看一看我们的周围，我们的生活！系列作品《逝去无名》就是从这个出发点来构建的框架：那个时代给我们留下来的点滴回忆随着时间正在慢慢消逝能留给我们的东西越来越少，就如画中的空间，我们能记得住的还剩在什么？只是无名而已。无名正是那个时代的纯真，失去的就是纯真，我们所要回忆、所要追求的正是我们在时间的隧道中丢失的无名。 As the change of The Times, science and technology increasingly developed, the life of people with becomes rich and colorful. The arrival of information age makes us walking time becomes more and more quickly, our culture as well. Decades ago, the social environment with this era is completely two touch kind, there is something that is produced, some things disappear. So quickly disappeared under the changes of The Times, disappear under the reform of the cultural, disappear in people's memory! The sort of collective memory dissipate, there will be no major broadcast, black and white television, radio, 28 inches, phoenix bicycle and so on memory again. Nostalgic plot solution doesn't open our image of the past linger, little drops of life, the behavior way are actually express came up from the era of trace. However, today's life has become so love-ridden self, boring, empty, impetuous, dream, depression, this is what we are to get a life? Of course we did today is more abundant than before. But we are losing some pure worth recalling. The memory of the s for us is blank, times change too fast. We need to stop and take a look at all around us, our life! Series \"lost unknown\" is from the starting point to build the framework: the time for us to stay a little memory is slowly faded over time can leave us less and less, the space in the picture, we can remember left in what? Just the unknown. Unknown it was the age of innocence, lost is pure, we have to recall, to pursue what we lost in the time tunnel of the unknown.
Liang Xucai
天下无贼-1
Wang Shanshan
律动
Wang Shanshan
Ideal Kingdom Of The King-1
表达的是我们想要的生活和想追求的生活貌似很美好，每个人像个理想王一样创造自己的国度，不惧辛苦和困难，去一心寻找和组建自己的幸福生活。其实到最后往往会发现我们追求的是理想国的王，而恰巧我们筑建的是《理想王的国》。 Expression is that we want a life and want to pursue life seems to be very good, each like a king of ideal to create your own country, not afraid of hard work and difficulties, to search and form their own happy life. Actually to finally tends to find that we pursue is the king of the utopia, just we built the \"ideal kingdom of the king\".
Yang Mei
Ideal Kingdom Of The King-2
表达的是我们想要的生活和想追求的生活貌似很美好，每个人像个理想王一样创造自己的国度，不惧辛苦和困难，去一心寻找和组建自己的幸福生活。其实到最后往往会发现我们追求的是理想国的王，而恰巧我们筑建的是《理想王的国》。 Expression is that we want a life and want to pursue life seems to be very good, each like a king of ideal to create your own country, not afraid of hard work and difficulties, to search and form their own happy life. Actually to finally tends to find that we pursue is the king of the utopia, just we built the \"ideal kingdom of the king\".
Yang Mei
Ideal Kingdom Of The King-3
表达的是我们想要的生活和想追求的生活貌似很美好，每个人像个理想王一样创造自己的国度，不惧辛苦和困难，去一心寻找和组建自己的幸福生活。其实到最后往往会发现我们追求的是理想国的王，而恰巧我们筑建的是《理想王的国》。 Expression is that we want a life and want to pursue life seems to be very good, each like a king of ideal to create your own country, not afraid of hard work and difficulties, to search and form their own happy life. Actually to finally tends to find that we pursue is the king of the utopia, just we built the \"ideal kingdom of the king\".
Yang Mei
Cold Leftovers-1
《残羹冷炙》系列之一 作品创作于2016年 综合材料 在当今社会的竞争下，不论是生活还是工作上我们每个人身上都肩负着不同的压力。在这个时候我们都会用什么解压的方式释放自己呢？甜品 但是当我们吃过这些令自己身心愉悦的甜品之后留下的又是什么呢？是食物的残羹冷炙，还是心理上的残羹冷炙…… 《残羹冷炙》系列一用沙土作为基底再用热熔胶作为肌理作出流淌的效果，加深观众对作品的观赏欲望。色彩艳丽可爱。 Competition in today's society, whether life or work on every one of us who are charged with different pressure. At this time we will use any way to extract the release yourself? dessert But when we eat these make oneself happy dessert after what is left? Is the food scraps, scraps or mentally... "Bear" series a sand was used as basal and hot melt adhesive was used as texture to make the effect of flow, deepen the audience watch the desire to work. Colour is gorgeous and lovely.
Zhai Lujia
Cold Leftovers-3
《残羹冷炙》系列之三 作品创作于2017年 布面油画 在当今社会的竞争下，不论是生活还是工作上我们每个人身上都肩负着不同的压力。在这个时候我们都会用什么解压的方式释放自己呢？甜品 但是当我们吃过这些令自己身心愉悦的甜品之后留下的又是什么呢？是食物的残羹冷炙，还是心理上的残羹冷炙…… 《残羹冷炙》系列一用沙土作为基底再用热熔胶作为肌理作出流淌的效果，加深观众对作品的观赏欲望。色彩艳丽可爱。 Competition in today's society, whether life or work on every one of us who are charged with different pressure. At this time we will use any way to extract the release yourself? dessert But when we eat these make oneself happy dessert after what is left? Is the food scraps, scraps or mentally... "Bear" series a sand was used as basal and hot melt adhesive was used as texture to make the effect of flow, deepen the audience watch the desire to work. Colour is gorgeous and lovely.
Zhai Lujia
Cold Leftovers-4
《残羹冷炙》系列之四 作品创作于2017年 布面油画 在当今社会的竞争下，不论是生活还是工作上我们每个人身上都肩负着不同的压力。在这个时候我们都会用什么解压的方式释放自己呢？甜品 但是当我们吃过这些令自己身心愉悦的甜品之后留下的又是什么呢？是食物的残羹冷炙，还是心理上的残羹冷炙…… 《残羹冷炙》系列一用沙土作为基底再用热熔胶作为肌理作出流淌的效果，加深观众对作品的观赏欲望。色彩艳丽可爱。 Competition in today's society, whether life or work on every one of us who are charged with different pressure. At this time we will use any way to extract the release yourself? dessert But when we eat these make oneself happy dessert after what is left? Is the food scraps, scraps or mentally... "Bear" series a sand was used as basal and hot melt adhesive was used as texture to make the effect of flow, deepen the audience watch the desire to work. Colour is gorgeous and lovely.
Zhai Lujia
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