中文  |  English
最新 最早
回南天
Wang Qi
窥
Wang Qi
困
Wang Qi
秘密-wq
Wang Qi
Newly Born-1
切割金属时飞溅的氧化铁屑， 在浴火之后， 落叶归根， 只为枝头新生命的绽放。 The splashing oxidized iron scraps when cutting metal, Bathing in the fire, The falling leaves dance to the root, Only for the newly born life bloomed on the top of the branch.
Wang Fuyin
Newly Born-2
切割金属时飞溅的氧化铁屑， 在浴火之后， 落叶归根， 只为枝头新生命的绽放。 The splashing oxidized iron scraps when cutting metal, Bathing in the fire, The falling leaves dance to the root, Only for the newly born life bloomed on the top of the branch.
Wang Fuyin
Newly Born-3
切割金属时飞溅的氧化铁屑， 在浴火之后， 落叶归根， 只为枝头新生命的绽放。 The splashing oxidized iron scraps when cutting metal, Bathing in the fire, The falling leaves dance to the root, Only for the newly born life bloomed on the top of the branch.
Wang Fuyin
Newly Born-4
切割金属时飞溅的氧化铁屑， 在浴火之后， 落叶归根， 只为枝头新生命的绽放。 The splashing oxidized iron scraps when cutting metal, Bathing in the fire, The falling leaves dance to the root, Only for the newly born life bloomed on the top of the branch.
Wang Fuyin
Newly Born-5
切割金属时飞溅的氧化铁屑， 在浴火之后， 落叶归根， 只为枝头新生命的绽放。 The splashing oxidized iron scraps when cutting metal, Bathing in the fire, The falling leaves dance to the root, Only for the newly born life bloomed on the top of the branch.
Wang Fuyin
Useless Wars-1
前车之“箭” 后车之“复” （借用中国古语“前车之覆，后车之鉴”） 作品材料：中国美术生考前所用画笔 The arrow of the last cart The overturn of the next cart (borrowed from the old Chinese saying “The overturned cart ahead is a warning to the ones behind.”) Work material：Chinese art students before the entrance of the brush
Wang Fuyin
Useless Wars-2
前车之“箭” 后车之“复” （借用中国古语“前车之覆，后车之鉴”） 作品材料：中国美术生考前所用画笔 The arrow of the last cart The overturn of the next cart (borrowed from the old Chinese saying “The overturned cart ahead is a warning to the ones behind.”) Work material：Chinese art students before the entrance of the brush
Wang Fuyin
A Hypothesis 14
是汉字艺术、绘画还是平面设计？其实无需追究刘小才这件作品的艺术归类。当艺术发展到连边界都已然打破的今天，艺术归类的意义其实并不大。跨界，是当今艺术的必然趋势。重要的是艺术发生在其所处时点的价值和意义，这些价值和意义是基于它的独立性及其与所处时代的关联性来判断的。从艺术呈现形式的角度看，刘小才这件作品是具有探索性的。如果说德里达的解构主义是对文本背后的逻各斯的摒弃，刘小才的作品则是对每一个字义指向的放下。尽管解构主义不具中国血统，但在全球一体化进程中，这种放下之于艺术呈现，还是具有某种程度的时代意义的。/Chinese character art, painting or graphic design? In fact, no need to pursue Liu Xiaocai's works of art classification. When the development of the arts to the boundaries have been broken today, the significance of art classification is not large. Cross border, is the inevitable trend of today's art. What is important is the value and significance of art in its point of view, which is based on its independence and its relevance to the times. From the point of view of artistic presentation, Liu Xiaocai's work is exploratory. If Derrida's deconstruction is to abandon the text behind the logos, Liu Xiaocai's work is to put down every word to. Although deconstruction is not Chinese, but in the process of global integration, this kind of down to the artistic presentation, there is a certain degree of significance of the times.
Liu Qingzang
A Hypothesis 15
是汉字艺术、绘画还是平面设计？其实无需追究刘小才这件作品的艺术归类。当艺术发展到连边界都已然打破的今天，艺术归类的意义其实并不大。跨界，是当今艺术的必然趋势。重要的是艺术发生在其所处时点的价值和意义，这些价值和意义是基于它的独立性及其与所处时代的关联性来判断的。从艺术呈现形式的角度看，刘小才这件作品是具有探索性的。如果说德里达的解构主义是对文本背后的逻各斯的摒弃，刘小才的作品则是对每一个字义指向的放下。尽管解构主义不具中国血统，但在全球一体化进程中，这种放下之于艺术呈现，还是具有某种程度的时代意义的。/Chinese character art, painting or graphic design? In fact, no need to pursue Liu Xiaocai's works of art classification. When the development of the arts to the boundaries have been broken today, the significance of art classification is not large. Cross border, is the inevitable trend of today's art. What is important is the value and significance of art in its point of view, which is based on its independence and its relevance to the times. From the point of view of artistic presentation, Liu Xiaocai's work is exploratory. If Derrida's deconstruction is to abandon the text behind the logos, Liu Xiaocai's work is to put down every word to. Although deconstruction is not Chinese, but in the process of global integration, this kind of down to the artistic presentation, there is a certain degree of significance of the times.
Liu Qingzang
A Hypothesis 16
是汉字艺术、绘画还是平面设计？其实无需追究刘小才这件作品的艺术归类。当艺术发展到连边界都已然打破的今天，艺术归类的意义其实并不大。跨界，是当今艺术的必然趋势。重要的是艺术发生在其所处时点的价值和意义，这些价值和意义是基于它的独立性及其与所处时代的关联性来判断的。从艺术呈现形式的角度看，刘小才这件作品是具有探索性的。如果说德里达的解构主义是对文本背后的逻各斯的摒弃，刘小才的作品则是对每一个字义指向的放下。尽管解构主义不具中国血统，但在全球一体化进程中，这种放下之于艺术呈现，还是具有某种程度的时代意义的。/Chinese character art, painting or graphic design? In fact, no need to pursue Liu Xiaocai's works of art classification. When the development of the arts to the boundaries have been broken today, the significance of art classification is not large. Cross border, is the inevitable trend of today's art. What is important is the value and significance of art in its point of view, which is based on its independence and its relevance to the times. From the point of view of artistic presentation, Liu Xiaocai's work is exploratory. If Derrida's deconstruction is to abandon the text behind the logos, Liu Xiaocai's work is to put down every word to. Although deconstruction is not Chinese, but in the process of global integration, this kind of down to the artistic presentation, there is a certain degree of significance of the times.
Liu Qingzang
Forward
路途艰难险阻，但仍要奋勇向前。
Zhu Tengfei
无题-ztf
画室内写生作品，眼前杂乱但附有秩序，有感而作。
Zhu Tengfei
昂起头
坚强的人当有一个坚强的灵魂，昂首挺胸，头顶的中国红彰显精神力量。
Zhu Tengfei
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
Mobius Ring
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
对话
“关于这些场景，我总有着一些复杂的情感。在表达他们的过程中我慢慢地和他们建立起了一种联系。”--帅梦琪 “About my paintings,I always have some complicated feelings.when I was expressing these scenes,I gradually established a relationship with them."--Eva Shuai
Shuai Mengqi
京西学校-2
“关于这些场景，我总有着一些复杂的情感。在表达他们的过程中我慢慢地和他们建立起了一种联系。”--帅梦琪 “About my paintings,I always have some complicated feelings.when I was expressing these scenes,I gradually established a relationship with them."--Eva Shuai
Shuai Mengqi
工作
“关于这些场景，我总有着一些复杂的情感。在表达他们的过程中我慢慢地和他们建立起了一种联系。”--帅梦琪 “About my paintings,I always have some complicated feelings.when I was expressing these scenes,I gradually established a relationship with them."--Eva Shuai
Shuai Mengqi
信仰
“关于这些场景，我总有着一些复杂的情感。在表达他们的过程中我慢慢地和他们建立起了一种联系。”--帅梦琪 “About my paintings,I always have some complicated feelings.when I was expressing these scenes,I gradually established a relationship with them."--Eva Shuai
Shuai Mengqi
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
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
首页上一页56789101112下一页尾页
关于联系/关注友情链接





Copyright © 2016-2017 Eye Art International Inc. All Rights Reserved.