纯粹精神的超脱感

奕泓的艺术，是一个诸种艺术身份交混，诸种艺术语言共振，却又经过纯粹化的艺术。这是一种交融与纯粹化的奇怪的组合，非常独到。奕泓自幼勤习中国传统书画，通过接受国画特别是工笔画的教育走上艺术之路，一直从事首饰设计的教学工作，而其主要的艺术作品，又是冷抽象艺术。工笔画、装饰与冷抽象，离奇而又独特的交融在一起，构成她极富装饰性，却又有艺术语言上的深度与纯粹性的艺术风格。

奕泓的绘画就其最外层的美感经验来看，追求一种光与色的纯粹表现性组合，她深入领会了丙烯这种材质的特性，将丙烯的轻盈明丽发挥到了极致，能够画出非常薄的色彩，这应当是掌握了某种绝活儿，效果令人赞叹。同时，她大胆采用了丙烯的“幻彩”系列颜料，在不同角度和不同光线下，画面色彩会变幻，具有一种玻璃圣像画一般的神秘感，甚至略带贵气，特别是对丙烯的荧光色系的应用，使得这些画儿在公共空间的展示中极富视觉上的动感与冲击力。这种效果似乎来自首饰设计者的视觉经验和对材料的要求。

 奕泓绘画的第二重美感，来自画面所追求的一种叠透感。她似乎掌握了一套技巧，能够把大面积丙烯画得很薄而且异常均匀，因此，能够将不同的色彩叠在一起，并且尽可能避免色彩由于交叠而产生的黑化，在叠加中又保持了每一种色彩的独立性，这真是令人赞叹的耐心与控制力，以及对于色彩之间的变化关系的精准控制。通过薄色进行极致化的色彩变化呈现，这让她的画面呈现出一种可以称之为“叠透”的效果，这种效果使得色彩之间，黑白灰之间，有一种若即若离的关系，耐人寻味。这种重叠与分离的双重感受，似乎来自工笔画层层渲染技法，只不过国画颜料并不透，而奕泓刻意强化了丙烯能够透的一面。她的作品中还能看到皴、擦、点、染之间的分离与重叠，将传统中国画技法应用到新材料上，用到冷抽象艺术上，这是出人意料的创新之处。

奕泓绘画的第三重美感，来自画面的一种情感效果。她的作品有一种神秘的冷、寂之感，仿佛禅定之后的静穆。这种感受里有独异之我，有一种虽身处红尘，却追求纯粹精神的超脱感，这是画面最动人的部分。在作品中，单一的形可能被无限重复，没有尽头，但有一个独立的自我以其定力，在可能枯燥的行动中超脱于功利之外，守意于色形之间，克制而沉静，清通而自由，心画合一，这令人心生敬意。

清丽、静谧、通透、可敬，这就是这些作品的美，也是一个游走了诸种艺术形式，探索诸种艺术语言的纯粹艺术家，用心灵呈现给我们的唯美之境。

评论家：刘旭光教授，上海大学文学院院长，中华美学会常务理事，教育部青年长江学者 (2022年3月发表于“库艺术”)

Sense of Transcendence of pure spirituality

Yan Ren’s art is a mix of various artistic identities, resonating with various artistic languages, yet purified. It is a strange combination of mingling and purification that is very unique. Yan Ren studied traditional Chinese painting and calligraphy since childhood, and embarked on the path of art through the education of Chinese painting, especially brush painting, and has been engaged in the teaching of jewellery design, and her main works of art are cold abstract art. The bizarre and unique blend of brush painting, decoration and cold abstraction constitute her art style which is extremely decorative, yet with depth and purity in artistic language.

Yan Ren’s paintings, in terms of her outermost aesthetic experience, pursue a purely expressive combination of light and colour. She deeply understands the characteristics of the material, acrylic, and brings the lightness and brightness of acrylic to the extreme, being able to paint very thin colours, which is supposed to be some kind of mastery, and the result is marvellous. At the same time, she boldly adopted the acrylic metallic of paints, in different angles and under different light, the picture colour will change, with a kind of glass icon painting general sense of mystery, and even a little bit noble, especially on the application of fluorescent colours of acrylics, so that these paintings in the display of public space is very rich in visual dynamics and impact. This effect seems to come from the jewellery designer. This effect seems to come from the visual experience of the jewellery designer and the requirements of the material.

The second aesthetics of Yan Ren’s paintings comes from a sense of superimposed transparency that the images pursue. She seems to have mastered the technique of painting large areas of acrylics very thinly and evenly, and therefore is able to layer different colours together, avoiding as much as possible the blackening of colours due to overlapping, and maintaining the independence of each colour in the overlapping, which is really amazing in terms of patience and control, as well as the precise control of the relationship of changes between colours. The extreme presentation of colour changes through thin colours gives her images an effect that can be called ‘superimposed’, which makes the relationship between colours, between black, white and grey, a relationship that is intriguing. This double feeling of overlapping and separation seems to come from the technique of rendering layers in Gongbi Painting, except that Chinese paints are not translucent, whereas Yan Ren deliberately strengthens the translucent side of acrylics. The separation and overlapping between chapping, rubbing, dotting and colouring can also be seen in her works, which is an unexpected innovation to apply traditional Chinese painting techniques to new materials and to cold abstract art.

The third aesthetics of Yan Ren’s paintings comes from an emotional effect of the picture. Her works have a mysterious sense of coldness and silence, as if the stillness after meditation. There is a sense of uniqueness in this feeling, a sense of transcendence in the pursuit of pure spirituality despite being in the red world, which is the most touching part of the picture. In her works, a single shape may be repeated indefinitely without end, but there is an independent self with its determination, transcending from utilitarianism in the possibly boring actions, keeping its mind between colours and shapes, restrained and calm, clear and free, and unity of mind and painting, which is a source of respect.

Clear, tranquil, transparent and respectable, this is the aesthetics of these works. It is also the aesthetic realm presented to us by a pure artist who has traveled through various art forms and explored various artistic languages ​​with her soul.

Critic: Prof. Xuguang Liu, Dean of College of Liberal Arts, Shanghai University, Executive Director of the Chinese Society of Aesthetics, Young Cheung Kong Scholar of the Ministry of Education of the People’s Republic of China (Published in March 2022 in KUART)