ARCH GALLERY 拱形画廊欣然宣布，即将呈现艺术家史怡然个展「情绪地理学/ Emo-geography」，展出其最新创作的26件木板丙烯、影像及若干手稿与拼贴作品等。展览于2022年5月27日面对公众开放，并将展至7月20日。

情绪地理学

艺术家: 史怡然

策展人: 梁庆

展览日期：2022年5月27日 - 7月20日

开幕时间：2022年5月27日 3p.m（周五）

主办方：ARCH GALLERY 拱形画廊

展览地址：长沙市天心区1123文创园1楼

Emo-Geography

Artist：Yiran Shi

Curator：Qing Liang

Duration：May 27 - July 20, 2022

Opening：Friday May 27, 2022

Organizer：ARCH GALLERY

Adress：1123 CULTURAL AND CREATIVE PARK,CHANGSHA.

史怡然：情绪地理学

SHI Yiran —Emo-geography

自“mirage”系列开启以来，史怡然的绘画愈发呈现鲜明的个人语言。画面不时闪现的些许“公路电影”的镜头感，一种在途中的孤寂和浪漫，连同它们所牵连的碎片，共同勾勒出一个纷繁交错的“情绪地理”。

纵观史怡然至今多个系列作品，从“海豚宾馆”“孔雀镇”“失物招领”到 “mirage”，会发现它们几乎全部源于她对地域景观的切换体验，以及由此生发的种种“恋地情节”。她所理解的地域并不是抽象的图纸，也不止于单纯空间向度的⻛景，而是可以感知厚重、能看到层层时间交叠的复合景观。那些由自然⻛物和人文要素交织构建的景致，带给她具有反差的视觉密度和色彩感，情绪释放了它们内隐的信息。

这些情绪来自于移动中的即刻感受和对当时当地的若即若离的体验。曾经频繁且漫⻓的异域行旅，让史怡然从熟知的现实生活的连续性中抽身而去。出走与游离让她暂别文化和经验所预设的先在结构，从而开启内心异域空间的勘探。她的画面不再是静态的“框架中的景致”，而是同时向动与静、真与幻的多个维度展开——我们日常所在的客观现实、被媒体塑造的“拟态环境”、存在于意识中的“主观现实”······史怡然正是以其视觉转译，以蒙太奇般的剪贴切换，使这些繁复层叠的现实重新聚合。她在具象与抽象之间的暧昧中激活想象，各种难以名状的感觉比一味写实的刻画更接近真实。

离开某地，即意味着它与我们之间的直接联系不复存在，由此产生的即时的、美妙的、完整的记忆之流，也会在不知不觉中枯竭。然而转瞬即逝的现实总会寄居有形之物，我们借之辨认、呼唤过去的时光。史怡然的作品恰如精神旅行的坐标或纪念物，让我们得以追忆那些还能自由行走的路程。过往那种漫游穿越的自在，如今已经渐行渐远，相比种种封闭隔阂，她画面里蕴藉的情境成为一种来自过去的心理绵延，散发着美好而温馨的伤感，同时抚慰人心。我们曾经注视过的事物，再次相遇时会把当时充实它的全部图景，连同我们注视的目光，重新带回面前。当我们面对史怡然的作品，或许同样会在无意识间闪念：那地方恍如梦境，却也近在眼前。

Since the beginning of theMirageseries, Shi Yiran’s works have displayed a distinct personal language increasingly. In her paintings, a sense of “road movies” flashes from time to time, a feeling of loneliness and romance of “on the road” with these fragments which implicated together, are outlining an intertwined emo-geography.

Watching her series fromDolphin Hotel, Peacock Town, All RecruitstoMirage, the audience will find that almost all of these are the artist’s changing experiences in various fields, as well as emotional growth in relation to it. The area she understands is not an abstract resemblance, nor limited to a landscape with a purely spatial dimension, but a complex landscape that can be perceived as deepened and layered in time. The landscapes constructed by the interweaving of natural sceneries and humanistic elements bring her a contrasting visual density and sense of colour. The implicit information is released through her emotions.

These emotions come from the immediate feelings while traveling and the elusive experience of those places. The frequent and lengthy travels to exotic places made Shi Yiran withdraw from the familiar continuity of real life. Leaving and wandering allowed her to temporarily leave the pre-existing structure that preset by culture and experience, thus opening up the exploration of the exotic space in her heart. Her paintings are no longer static “sceneries in the frame”, but unfold into multiple dimensions of movements and stillness, truth and illusions at the same time — the objectivity in our life, the “mimic environment” shaped by the media, the existence of “subjective reality" in consciousness...It is through her visual translation and piecing-and-separating with montage techniques that Shi Yiran reassembles these complex and layered realities. She activates imagination in the ambiguity between figuration and abstraction, and various indescribable feelings are closer to reality than blindly realistic depictions.

Leaving represents a place where its connection to us ceases to exist, and the resulting stream of real-time, wonderful, complete memories will unknowingly vanish. However, fleeting reality always resides intangible things, through which we couldidentify and call out the past. Shi Yiran’s works are like coordinates or monuments of spiritual travel, allowing us to reminisce about the journeys that we could walk freely. The freedom of roaming and traveling in the past has gradually drifted away. Compared with the various closed barriers in the “post-epidemic” era, the environments flowing in her paintings have become a psychological extension of the past, exuding a beautiful and warm sadness. At the same time soothing. The things that we gazed at before, will be bringing back to us again, with our sights and every plenitude picture. Standing in front of Shi Yiran's works, we may also have a flashback unconsciously:that place is like a dream, but it is also close to us.

Christmas eve，木板丙烯，108x56cm，2021

关于艺术家 · 史怡然

出生于1983年，毕业于中国美术学院油画系，获博士学位（2017），美国匹兹堡大学艺术与建筑史系访问学者（2019），中国美术学院油画系讲师。史怡然擅长以写实手法描绘“超感”和异样的魅境。致力于对色彩自身语义的探索，以近乎超色域的数值释放颜色自身的语法，让光和色彩成为不断涌现的实在。与此同时，画面的细节溶于整体，用朴素的方式将绘画还以绘画。她借用版画中层层叠色的手法，让笔触变成单纯的区间，从而更明确地彰显时间的维度。也节制地使用拼贴，让来自工业及印刷文化的痕迹、来自不同图像系统的碎片介入绘画，略带制作感的刻痕与书写性的笔触碰撞出超现实主义的诗意。

2017年和2021年在北京和杭州举办个展，近年参加了包括南京艺术学院美术馆，临港当代美术馆，西岸穹顶艺术中心，SAG沪申画廊，艺术门画廊、巴黎小皇宫，意大利 Castello Di Rivara当代美术馆，北京N3艺术中心等美术馆及机构群展。作品被东京艺术大学美术馆，浙江美术馆等机构收藏。2006年获得罗中立奖学金，2013年浙江省“新峰计划”视觉人才，2021年“艺术澳门：‘明日可及’-大湾区青年艺术家计划”绘画及摄影奖。出版：《当代艺术》、《美术文献》、《艺术与设计》、意大利《共和报》、《新美术》；个人画册《mirage》,香港 Ever Press.