展览现场

陈清勇的牌子

在对中国水墨画细致观察之后，陈清勇选择在明清时期的古砖上以他个人的艺术语言“制造”山水画，顺着砖上的起伏沟壑，用细密的线条来绘制山川树木。明清古砖《制造山水》系列的表达，不仅昭显着它在历经时间风化后，表皮呈现出的包浆痕印与自然肌层，还是其中内含残缺沟壑的温度释放。那些痕迹若隐若现地覆盖它们原有的相貌，最终被定格的图像，勾连起过往和现时的记忆，在解构、重组图景之间，呈现一段地理空间与时间历史并置的文化现象。

After meticulously observing traditional Chinese ink paintings, Chen Qingyong chose to "fabricate" landscape paintings on ancient bricks from the Ming and Qing dynasties using his unique artistic language. Following the undulations and gullies on the bricks, he employed intricate lines to depict mountains, rivers, and trees. The "Fabricating Landscapes" series on Ming and Qing bricks not only highlights the patina and natural textures that have emerged after years of weathering but also releases the warmth contained within the bricks' imperfections and gullies. These traces subtly overlay their original appearance, and the final fixed images evoke memories of the past and the present. Between deconstructing and reconstructing the scenes, they present a cultural phenomenon where geographical space and historical time are juxtaposed.