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伪证No.1
作品并不直接表现社会政治性命题，而是通过收集一些有所感悟的图像资料着力描述一种日常生活的场景与状态从某种意义上说，我的创作仿佛是在传统和记忆即将消逝的时刻对记忆的追认，并被纳入到他个体切身的生存经历和重构记忆当中。既是记忆的现实显影，又是在其形而上的超验表现，也正是这种表层的真实后面隐藏得更为深刻的真实，才能引起我们心灵上的共鸣乃至震撼。 The work does not directly represent the social and political propositions, but rather through the collection of some sentimental images to describe a daily life of the scene and state in a sense, my creation as if the tradition and memory is about to die Always on the memory of the pursuit, and was included in his personal survival experience and reconstruction of memory. Both the reality of memory development, but also in its metaphysical transcendental performance, it is also the surface of the real behind the hidden more profound real, in order to cause our spiritual resonance and even shock.
Li Rui
伪证No.2
作品并不直接表现社会政治性命题，而是通过收集一些有所感悟的图像资料着力描述一种日常生活的场景与状态从某种意义上说，我的创作仿佛是在传统和记忆即将消逝的时刻对记忆的追认，并被纳入到他个体切身的生存经历和重构记忆当中。既是记忆的现实显影，又是在其形而上的超验表现，也正是这种表层的真实后面隐藏得更为深刻的真实，才能引起我们心灵上的共鸣乃至震撼。 The work does not directly represent the social and political propositions, but rather through the collection of some sentimental images to describe a daily life of the scene and state in a sense, my creation as if the tradition and memory is about to die Always on the memory of the pursuit, and was included in his personal survival experience and reconstruction of memory. Both the reality of memory development, but also in its metaphysical transcendental performance, it is also the surface of the real behind the hidden more profound real, in order to cause our spiritual resonance and even shock.
Li Rui
伪证No.4
作品并不直接表现社会政治性命题，而是通过收集一些有所感悟的图像资料着力描述一种日常生活的场景与状态从某种意义上说，我的创作仿佛是在传统和记忆即将消逝的时刻对记忆的追认，并被纳入到他个体切身的生存经历和重构记忆当中。既是记忆的现实显影，又是在其形而上的超验表现，也正是这种表层的真实后面隐藏得更为深刻的真实，才能引起我们心灵上的共鸣乃至震撼。 The work does not directly represent the social and political propositions, but rather through the collection of some sentimental images to describe a daily life of the scene and state in a sense, my creation as if the tradition and memory is about to die Always on the memory of the pursuit, and was included in his personal survival experience and reconstruction of memory. Both the reality of memory development, but also in its metaphysical transcendental performance, it is also the surface of the real behind the hidden more profound real, in order to cause our spiritual resonance and even shock.
Li Rui
Vent No.1
深受超现实主义的影响，这些怪异荒诞的非理性世界的幻觉形象，将对现世人际关系经验的思考纳入戏剧化的虚妄梦境中，是对理性世界的强烈控诉与挣扎。我的画直面畸变的21世纪，在当下社会人们普遍拥有一种“厌世”情绪，喧闹繁荣的表层之下是矛盾与惶恐的失常秩序，运用对身体的描绘来揭示现实的痛楚，是当代人类普遍共通情感的直接映射。 In this recent body of work, they are filled with enthusiasm, anxiety, loneliness and romantic…. The whole series is about contradiction in different ways. She influenced by Surrealism and Neo-Classic. She used thick brushstrokes and thin traditional glazing techniques informed by the collages between abstraction and figuration.
Deng Shiqing
Vent No.2
深受超现实主义的影响，这些怪异荒诞的非理性世界的幻觉形象，将对现世人际关系经验的思考纳入戏剧化的虚妄梦境中，是对理性世界的强烈控诉与挣扎。我的画直面畸变的21世纪，在当下社会人们普遍拥有一种“厌世”情绪，喧闹繁荣的表层之下是矛盾与惶恐的失常秩序，运用对身体的描绘来揭示现实的痛楚，是当代人类普遍共通情感的直接映射。 In this recent body of work, they are filled with enthusiasm, anxiety, loneliness and romantic…. The whole series is about contradiction in different ways. She influenced by Surrealism and Neo-Classic. She used thick brushstrokes and thin traditional glazing techniques informed by the collages between abstraction and figuration.
Deng Shiqing
Vent No.3
深受超现实主义的影响，这些怪异荒诞的非理性世界的幻觉形象，将对现世人际关系经验的思考纳入戏剧化的虚妄梦境中，是对理性世界的强烈控诉与挣扎。我的画直面畸变的21世纪，在当下社会人们普遍拥有一种“厌世”情绪，喧闹繁荣的表层之下是矛盾与惶恐的失常秩序，运用对身体的描绘来揭示现实的痛楚，是当代人类普遍共通情感的直接映射。 In this recent body of work, they are filled with enthusiasm, anxiety, loneliness and romantic…. The whole series is about contradiction in different ways. She influenced by Surrealism and Neo-Classic. She used thick brushstrokes and thin traditional glazing techniques informed by the collages between abstraction and figuration.
Deng Shiqing
Rebirth
“重生”以雾霾天和枯树为灵感来源、枯树下有万千生命力在繁衍开来，寓意环保和讽刺当下雾霾的出现与危害。/"Rebirth" with the fog haze days and dead trees for inspiration, under the tree there are myriad vitality in the spread, moral environment and irony appear and harm of the fog.
Anthony
Bloom
"绽放”以极具生命力的牡丹为中心，供给它营养的绿色“管道”、所剩无几，污水管道处处可见，提醒着人们珍惜这仅有的绿色“管道”。/"Bloom" with extremely has the vitality the peony as the center, its nutrition supply green "pipe", left, sewage pipeline everywhere, reminding people to cherish the only green "pipeline".
Anthony
Eternal
“永恒”以骷髅头和艳丽花朵为主，在骷髅头眼睛盛开的鲜花与黑色背景对比鲜明，凸显生命的张力，龟裂的细缝中长出新芽寓意生命繁衍不息。/"Forever" is given priority to with skulls and gorgeous flower, blooming flowers in skulls eyes with a black background contrast, highlights the tension of life, fine seam crack sprout sprout moral life reproduction.
Anthony
The Gallbladder Meridian Is Blocked 2
“身体系列”源于我对自己身体精微敏感的观察。哪个部分出现了什么样的问题，从中医学上如何去解释这个毛病对女性身体形态产生的影响。在意身体成为可见景观的同时，不自觉发现自己已陷入被规训的公约视野中：苗条的，紧致的，瘦弱的，纤长的……似乎这些才是被公众认定是好看的。为什么那些因为“胆经堵了”、“淋巴停滞”、“副乳”等这些常见的亚健康毛病所带来身体形态的变化是不美的，是让人感到不舒服的——而这些则是因为个体享受身体懒逸引发的后果。谁在确定什么是美？什么是丑？是什么样的观念和权力在无形中规训我们的思想。面对这些袒露的部分身体，觉得恶心、油腻也好，或者觉得柔软、美好也好，可能每个人的态度截然不同，但见微知著的敏感倒是出奇的一致。我们如今的审美态度是被什么样的文化在潜移默化的影响着。信息时代中的流行文化，娱乐游戏，影视图片是否也对我们的思想和审美存在类似于“堵塞”、“停滞”，“不通”，“错位”的影响呢？ The "body series" is based on my observation of the subtle sensitivity of my body. Which part of the problem, how to explain the impact of the disease on the body shape of women. Mind body become visible landscape at the same time, unconsciously find themselves in the disciplinary Convention in view: Slim, compact, thin, slender...... It seems that these are considered to be good. Why are those because of "gallbladder block" and "lymph stagnation", "two" and the common health problems caused by the sub body shape change is not good, is to let people feel uncomfortable, which is because the individual body enjoy lazy escape the consequences. Who is determining what is beauty? What is ugly? What kind of ideas and powers in the discipline of our minds. In the face of these parts of the body exposed, nausea, or greasy, or feel soft, beautiful or not, maybe everyone's different attitude, but which is sensitive but surprisingly consistent. Our present aesthetic attitude is influenced by what kind of culture. In the information age, the popular culture, entertainment games, film and television pictures are also similar to the "aesthetic" and "stagnation", "stagnation", "no", "dislocation" in our thinking and aesthetic
Li Li
Mamma Accessoria 2
“身体系列”源于我对自己身体精微敏感的观察。哪个部分出现了什么样的问题，从中医学上如何去解释这个毛病对女性身体形态产生的影响。在意身体成为可见景观的同时，不自觉发现自己已陷入被规训的公约视野中：苗条的，紧致的，瘦弱的，纤长的……似乎这些才是被公众认定是好看的。为什么那些因为“胆经堵了”、“淋巴停滞”、“副乳”等这些常见的亚健康毛病所带来身体形态的变化是不美的，是让人感到不舒服的——而这些则是因为个体享受身体懒逸引发的后果。谁在确定什么是美？什么是丑？是什么样的观念和权力在无形中规训我们的思想。面对这些袒露的部分身体，觉得恶心、油腻也好，或者觉得柔软、美好也好，可能每个人的态度截然不同，但见微知著的敏感倒是出奇的一致。我们如今的审美态度是被什么样的文化在潜移默化的影响着。信息时代中的流行文化，娱乐游戏，影视图片是否也对我们的思想和审美存在类似于“堵塞”、“停滞”，“不通”，“错位”的影响呢？ The "body series" is based on my observation of the subtle sensitivity of my body. Which part of the problem, how to explain the impact of the disease on the body shape of women. Mind body become visible landscape at the same time, unconsciously find themselves in the disciplinary Convention in view: Slim, compact, thin, slender...... It seems that these are considered to be good. Why are those because of "gallbladder block" and "lymph stagnation", "two" and the common health problems caused by the sub body shape change is not good, is to let people feel uncomfortable, which is because the individual body enjoy lazy escape the consequences. Who is determining what is beauty? What is ugly? What kind of ideas and powers in the discipline of our minds. In the face of these parts of the body exposed, nausea, or greasy, or feel soft, beautiful or not, maybe everyone's different attitude, but which is sensitive but surprisingly consistent. Our present aesthetic attitude is influenced by what kind of culture. In the information age, the popular culture, entertainment games, film and television pictures are also similar to the "aesthetic" and "stagnation", "stagnation", "no", "dislocation" in our thinking and aesthetic
Li Li
Flatulence
“身体系列”源于我对自己身体精微敏感的观察。哪个部分出现了什么样的问题，从中医学上如何去解释这个毛病对女性身体形态产生的影响。在意身体成为可见景观的同时，不自觉发现自己已陷入被规训的公约视野中：苗条的，紧致的，瘦弱的，纤长的……似乎这些才是被公众认定是好看的。为什么那些因为“胆经堵了”、“淋巴停滞”、“副乳”等这些常见的亚健康毛病所带来身体形态的变化是不美的，是让人感到不舒服的——而这些则是因为个体享受身体懒逸引发的后果。谁在确定什么是美？什么是丑？是什么样的观念和权力在无形中规训我们的思想。面对这些袒露的部分身体，觉得恶心、油腻也好，或者觉得柔软、美好也好，可能每个人的态度截然不同，但见微知著的敏感倒是出奇的一致。我们如今的审美态度是被什么样的文化在潜移默化的影响着。信息时代中的流行文化，娱乐游戏，影视图片是否也对我们的思想和审美存在类似于“堵塞”、“停滞”，“不通”，“错位”的影响呢？ The "body series" is based on my observation of the subtle sensitivity of my body. Which part of the problem, how to explain the impact of the disease on the body shape of women. Mind body become visible landscape at the same time, unconsciously find themselves in the disciplinary Convention in view: Slim, compact, thin, slender...... It seems that these are considered to be good. Why are those because of "gallbladder block" and "lymph stagnation", "two" and the common health problems caused by the sub body shape change is not good, is to let people feel uncomfortable, which is because the individual body enjoy lazy escape the consequences. Who is determining what is beauty? What is ugly? What kind of ideas and powers in the discipline of our minds. In the face of these parts of the body exposed, nausea, or greasy, or feel soft, beautiful or not, maybe everyone's different attitude, but which is sensitive but surprisingly consistent. Our present aesthetic attitude is influenced by what kind of culture. In the information age, the popular culture, entertainment games, film and television pictures are also similar to the "aesthetic" and "stagnation", "stagnation", "no", "dislocation" in our thinking and aesthetic
Li Li
Gain No.1
一分耕耘、一分收获。 No pain,no gain.
Zhang Dan
Gain No.2
一分耕耘、一分收获。 No pain,no gain.
Zhang Dan
北宋的精神之花
历史总在不断上演着美好，生命也总在爱与被爱中前行，作品图形来自敦煌第378窟中的花卉图案，是北宋时期人们精神表达的呈现，创作者用当代的语言和表现呈现对当时和曾经的理解。History always repeated beautiful. Life is always in love and be loved in the way. Works of graphic from Dunhuang cave in No.378th flower pattern, it is the Northern Song Dynasty people's spiritual expression. The creator in the contemporary language and presentation of that time and ever understand.
Zhang Dan
Wait-1
这幅作品意在探索成长之中女性复杂又细腻的思绪，在对未来充满好奇，渴望的同时也夹杂着忧郁，迷茫和困惑，无法排解就不如等它慢慢沉淀，顺其自然。This work is intended to explore the growth of women's complex and delicate thoughts in the future is full of curiosity and desire also mingled with melancholy, dazed and confused, unable to resolve as it slowly precipitation, let it be.
Fu Mingzhen
Wait-2
这幅作品意在探索成长之中女性复杂又细腻的思绪，在对未来充满好奇，渴望的同时也夹杂着忧郁，迷茫和困惑，无法排解就不如等它慢慢沉淀，顺其自然。This work is intended to explore the growth of women's complex and delicate thoughts in the future is full of curiosity and desire also mingled with melancholy, dazed and confused, unable to resolve as it slowly precipitation, let it be.
Fu Mingzhen
The Vanishing Polar Bear
这幅作品描绘的是北极熊掉落后的瞬间。全球变暖导致冰块融化给北极熊的生存造成威胁。希望更多的人能关注这个问题。The picture depicts the moment the polar bear fell. Global warming threatens the survival of polar bears by melting ice. I hope more people can pay attention to this problem.
Fu Mingzhen
夜幕下的指挥家-1
每天晚高峰着急回家的你是否常常透过窗户看到在马路上指挥交通的交警。在中国这个人多车多的国度里，为了让大家早点回家他们付出了很多。夜幕下的他们虽有一丝疲惫但仍在为人民服务，蓝色的月光覆盖在他们脸上显得那样的可爱。
Chen Peng
夜幕下的指挥家-2
每天晚高峰着急回家的你是否常常透过窗户看到在马路上指挥交通的交警。在中国这个人多车多的国度里，为了让大家早点回家他们付出了很多。夜幕下的他们虽有一丝疲惫但仍在为人民服务，蓝色的月光覆盖在他们脸上显得那样的可爱。
Chen Peng
夜幕下的指挥家-3
每天晚高峰着急回家的你是否常常透过窗户看到在马路上指挥交通的交警。在中国这个人多车多的国度里，为了让大家早点回家他们付出了很多。夜幕下的他们虽有一丝疲惫但仍在为人民服务，蓝色的月光覆盖在他们脸上显得那样的可爱。
Chen Peng
Deep 1
这些人物作品是我想用纯粹的雕塑手段来寻找雕塑本体的语言，在“简中求朴”在“朴中求深”。我有意识淡化五官，在黑白浓淡、似与不似之间含蓄地表露情感，注重“心像”和“形神”。 人物形象既是东方的和尚又是西方的圣徒，它是一个综合体，我努力接近一个客观的本然状态，我想让“人道”走进作品的精神性。 “灵魂”的观念常常和“影子”相混淆，我把空间压塑，在侧面的角度呈现抽象的几何形。人物空间的扁平使雕塑本身远离了现实的肉身，在造型中强调“形”的剪影效果，为的是表达灵魂的存在。 These figures are the works I want to use pure sculpture means to find the language of the sculpture, in the "Jane in the park" in the park". I have a weak sense of facial features, in shades of black and white, between May and may not reveal subtle emotions, pay attention to "image" and "spirit". The characters of both Oriental and Western monk saint, it is a complex, I try to be close to an objective nature, I want to let the spirit of "humanity" into the works. The concept of "soul" is often confused with the "shadow", I put the space compression, the angle of the abstract geometry. The flat space of the characters makes the sculpture itself far away from the reality of the body, emphasizing the shape of the silhouette effect in the shape, in order to express the existence of the soul.
Liu Peijian
Junliangcheng Series No. 13
到2016年作品由最初的写实慢慢地注入了更多的抽象因素，在自然生理结构和外形中找到动与静、方与圆等等要素，写实与抽象便互化了，努力接近于一个客观的本然。 In 2016 by the original works of realistic slowly into abstract factors more, find the dynamic and static, square and circle element in the natural physiological structure and shape, realism and abstract of each other, to close to an objective nature.
Liu Peijian
Dark Horse Series 2
军粮城系列里的马是脱离了生物属性，走向精神形态的马，我与之进入对话的状态，马的内心世界即是人的内心世界，凄楚的、渴望的••••••我努力将我的感受借马表达出来。 Junliangcheng series where the horse is out of biological properties, morphology to the spirit of horses, I entered the dialogue with the state of the horse, the inner world is the inner world, yet, desire - - - - - - I try to express my feelings by malaysia.
Liu Peijian
Her
在布面上以绣线构成点线面，近看是无规则的乱线，远看是结构清晰的人物画面。The point,line and plane in the cloth are made up primarily of embroidery thread，the result looks like a portrait from distance，but disorderly lines at close range.
Xu Man
HAZE
城市夜幕降临，一棵树在刺眼的灯光下静默地伫立着。在一片朦胧中，周围显得如此平静却又孤独。黑暗中隐约的树影与之形成了鲜明的对比。所有的一切都在这种矛盾中继续"生长“着。 Night fell to the city, there is a tree standing silently under the dazzling lights. The surroundings are so peaceful and lonely in the gloom. But you can also find the shadow of the tree in the dark. All the things are growing in this kind of contradiction.
Fu Liuyining
Interaction Of 2nd 3rd And 4th Dimension
When I start with the project, the first geometric shape that cross my mind is circle, the simplest shape with only one line. I want to make a set of jewelry with minimum number of phase but shows complex relation between 2D and 3D world. So I created the Mobius, a set of jewelry which includes a pair of earrings and a necklace. This project is based on the Mobius Strip, a geometric ring that exist in 3rd dimension but only has one side and one boundary. 当我刚开始做这个作品的时候，第一个想到的图形是圆， 因为这个图形在我看来是完美的。同时我希望使用最少的元素做出一件能表达二维和三位交互的作品，因此就有了这件莫比乌斯环。正如莫比乌斯环的定义，尽管存在于三维空间中，它只有一个面和一条边界
Chen Ziyan
Float
Float explores the relation between small pieces and the whole. A thin piece of copper, like the one I sealed in the ring, can grow into a large chunk through electroforming. I sealed the chunk of copper into resin and cut it into smaller pieces to create the necklace. Although the necklace is created by smaller pieces, it still shows beauty and fluency as one whole piece. 我希望能用漂浮这件作品表达出个体和整体的关系以及自由意志。一片薄如纸片的铜片（正如封存在戒指中的那一片），在注入所需的物质和能量后，可以快速生长成不同的样貌（项链主体）。而尽管项链由小块组成，它仍然展现了作为整体的流畅和美丽。
Chen Ziyan
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