Tie Ying New Works 2016 by TIE YING ART WORKS

铁鹰系列绘画作品 A Series of Tie Ying's Paintings

未完成－－绘画的场域 To be Continued... The Painting Realm

The Painting Realm

2016

铁鹰系列绘画作品

TIE YING

New Works

2016

未完成－－绘画的场域 To be Continued... The Painting Realm

铁鹰系列绘画作品 A Series of Tie Ying's Paintings 2016

苹果和女神 Apple & Muse 2015 oil on canvas, 60 X 60 cm

未完成...... 绘画的场域

奥古斯丁说过 “一个人一个深渊”，人的一切恐惧与欲望都源于此。我们不是一切，我们只是一个个深渊。我们的存在是一场令人窒息的坠落之旅，其中，希望是生者不惜一切代价发明的安慰，绝望亦是如此，绝望与希望相互为伴形成了一个生者的场域。这个时代从来不缺乏绝望，以及应对绝望的重启愿景。但是，每一个这样的愿景又都源自毫无悬念的日常情境，来自令人癫狂的强迫性劳作和由此叠加出来的白日梦。

铁鹰 2016年10月北京

这些绘画作品描述的是有关绝境的想象，但它不是绝望本身。如同孤单的游牧者驻足于绝望边缘的片刻凝视，是在密集运动中相对静止的一瞥。仅此一瞥：一切陌生或熟悉的情绪都在此时暂停，纠结不清的因缘云集交汇，虚实交错，却丝丝可辩。看，最终归顺于刹那间的一瞥，却选择了放弃，不再撕扯真实与现实的分别，也不再追究定义，而是让一切归零，让一切记忆与幻想在此瞬间消散。生者的欲望及其恐惧，也在此刻不再攀缘时间之流，而是让一切在此刻溶解，“让一切溶解在无剩余，无尽头的新生中”。刹那间的一瞥中，忠诚后退至遥远，唯留敬畏。敬畏中没有期待，一切都正在发生，因此无法为之命名……未完成。我所认定的绘画是一个动词，是一个绘画者对世间事件的一次性概括和发言。任意激发的绘画语言不是为了寻求新的发明，而是对应漫长的绘画史中已存在的语言再一次提取、重置和夸张。或许还是一次解除行动，解除与历史路径中那些经典场景的关联，让面前进行中的每一幅绘画作品都更加孤立独存。去除形式的枷锁和附庸，敲碎风格的陈腐外壳，使它变成能被重新拾起的碎片，再放大，为了遗忘或者重启。

这一切构成了此刻绘画的一个场域。在这个场域里，看到的是事件的表象，隐匿起来的主体实存虚有，绘画作为一次性运动的指涉是对人作为主体的想象、分解和驱散。这一场域里的运动，无始无终，是一种散漫漫长的游牧状态，它的存在构成了一个无法定义的定义，因此作品也成为了一个不被定义的存在。此存在如此孤立无援，正好隐喻着我们经历着的现实：一个显现的世界，未完成。绘画的本质就是一场运动，是一场挑战阈值的运动。过程永无终结，那就永远无法确定结果。只能是去逐渐生成一个陌生的事物，让一个静止的等待揭示出运动体的形态。我相信，人只有面对危机和绝境的时刻，也许才能让一切皆有可能的概念被重新发现，才能唤起生的意念。每一次运动都无法复制，而为每一次运动所付出的努力，只是让此刻的存在更加无所畏惧。此刻，未完成，正在构成我们唯一的生存现场，为此精疲力竭，生命不息。

To be Continued

According to Saint Augustine, each human being is an

— The Painting Realm

abysses; our every existence presupposes a stifling journey

abyss—the origin of all desire and fear. We are nothing but

TIE YING

to depravity. In this process, hope is a dozen of comfort in-

October, 2016

realm of a living soul, despair or rekindled hopes that follow.

vented by those alive at all cost. So is despair, to form the However, each of these hopes comes from those unevent-

Beijing

ful mundane scenes, and from maddening forced labor and daydreams pieced together therefrom. These paintings depict imaginations about despair, but not despair per se. They are comparable to a glance by a lonely herdsman who stops on the brink of despair—a moment of motionlessness in a highly dynamic situation. At this moment, all feelings, strange or familiar alike, come to a halt; and threads of causality become entangled amid a combination of reality and falsehood, yet readily discernable. A final submission to this moment means to let go, to stop dwelling on the nuance between truth and reality and splitting hairs over definitions, to send everything back to square one, and to drive away all the memories and illusions. At this moment, the desire and fear of those alive decolued instead of flowing down the river of time—all is dissolved in an endless new life that has nothing left. At this moment, loyalty recedes back into the distance and only reverence remains. There is no expectation in reverence; all is underway, so there’s no way to name it… It remains unfinished. According to my definition, painting, which describes an action, is a summary and statement about things in the world. An untrammeled painting language is used not to invent something new, but to extract, reinvent, and exaggerate the languages already existing in the

history of painting. It is also probably an act of deconstruction—to disconnect those classic scenes traditionally related to one another, so that each painting has more of an independent existence. It means to free them from formalism and stylistic banality, so that they are reduced to fragments that can be picked up again and examined under magnification—for the sake of forgetting or starting all over. All of these form a realm for painting. In this realm, what meets the eyes is a façade, behind which is hidden the existence or nothingness of the agent. Painting, when referred to as a “one-shot” action, is the imagining, decomposition, and disintegration of human beings (the agent). The actions in this realm start on the spot and have no ending. It is about a state of long-time diffusion and wandering. Their existence constitutes a meaning that defies definition, so the paintings are an undefined existence. Out on a limb, they are a metaphor for the reality we are experiencing: a manifest world that is left unfinished Painting is essentially an action to challenge thresholds. This process has no ending, so there is no conclusive result. What can be done is only to gradually give birth to something unfamiliar, and reveal the dynamic of the agent through motionless waiting. I believe that perhaps only when facing crises and hopeless situations can people refuel the belief that nothing is impossible and awaken their will to live. Each action is obviously unreproducible, and the efforts that go into each action serve nothing but to free the existence at the moment from all fears. Now, the state of being unfinished is defining only stage for life. This exhausts us, but urges us to live on from generation to generation. It is sending an eternal message: the future has no ending.

æ&#x203A;&#x203A; Nightfall 2016 oil on canvas, 130 X 155 cm

仰视的风景 Upward Landscape 2016 oil on canvas, 100 X 100 cm

野草 Wild Grasses 2015 oil on canvas, 80 X 100 cm

长城 The Great Wall 2016 oil on canvas, 155 X 130 cm

灼日 Rolling Sun 2015 oil on canvas, 100 X 80 cm

1976年的牡丹 Peony 1976 2016 oil on canvas, 100 X 100 cm

风 Wind 2014 oil on canvas, 92 X 68 cm

西风东渐

24 - 25 页

West to East

page 24 - 25

2015 oil on canvas, 100 X 80 cm, 100 X 80 cm

无题 Untitled 2016 oil on canvas, 150 X 120 cm

未知先生 Mr. Unknown 2016 oil on canvas, 90 X 70 cm

三点 Three Point 2016 oil on canvas, 90 X 70 cm

苦海 Endless Sea 2015 oil on canvas, 80 X 100 cm

瀑布和云 Water Fall & Sky 2014 oil on canvas, 100 X 80 cm

基督的身体 Jesus’s Body 2015 oil on canvas, 114 X 81 cm

寂静系列 Quietness Series 01 2014 oil on canvas, 120 X 150 cm

艺术家自述

Artist Statement

铁鹰

TIE YING

2013年7月

July, 2013

北京

Beijing

这组画是一系列关于不可见部分的意象描述。“象征”一词的古希腊原义，是一个识别的信物，可以与另一个信物相对应，这组画的象征源于对生命之初的乡愁，是某一刹那不含任何动机的感动，这一刹那，不是身体，不是大脑，不是思想，也不是思想者，不是我；是什么，我不知道，只知道这东西一定存在且无比肯定，可能是关于一段爱与美的记忆，不会有第三样东西，事实上，爱和美就是一个东西，别无二至；这东西对我而言，唯一的功能是使时间具备了形态。

This series of paintings are depictions of the unseen images. Etymologically, the term “symbol” originates from the ancient Greek word symbolon, meaning an identifiable token that may be compared and contrasted with others. The symbolism of this series of paintings derives from the nostalgia of the origin of life. They are sentiments of certain unintended moments. At that moment, it is neither about the body, nor the brain, or the ideas, nor the thinker, or myself; what it is, I don’t know. However, I am absolutely certain of its existence. Perhaps it’s none other than the memories of a love relationship and beauty. In fact, love and beauty is one, and are identical. For me, its only function is to configure time with forms.

荒原系列 01 Wilderness Landscape Series 01 2014 oil on canvas, 100 X 100 cm

家园 Homeland 2014 oil on canvas, 100 X 100 cm

自画像 Self - Portrait 1995 oil on wood board, 47.5 X 41 cm

铁鹰，1971年生于哈尔滨，90年代初毕业于中央美术学院油画系研修班。1994年在北京中央美术学院画廊首次举办《幻想的泥潭》油画作品展。1996年作为访问学者在瑞典斯德哥尔摩皇家美术学院留学。 2000年，开始创作大画幅观念摄影及数字影像作品。2004 年在北京798艺术区建立铁鹰工作室。2005年签约美国纽约马乐伯画廊，同年在美国纽约马乐伯画廊举办《国家力量》铁鹰个人摄影作品展。2009年在瑞士苏黎世Mai36画廊 showroom举办《回火》铁鹰个人摄影及绘画作品展。2011 年在新加坡Element画廊举办《大众》摄影作品个展。2012 年，开始重新创作油画作品，并于2013年在北京798艺术区 H.T画廊举办《催眠》系列绘画作品个展。

作品收藏 aZURE 当代艺术私人收藏机构，摩纳哥和瑞士。 DSL 中国当代艺术收藏机构，巴黎，法国。 Chinart中国当代艺术收藏机构，苏黎世，瑞士。摩纳哥王子Albert II个人收藏，摩纳哥。 PALM 私人当代艺术收藏，伦敦，英国。巴克莱财富管理银行，摩纳哥。纽约马乐伯画廊，纽约，美国。

Tie Ying Born in Harbin, China 1971. In the early 90’s, he graduated from CAFA school of oil paintings. In 1994, his first exhibition “Morass of Reverie” was held in CAFA. In 1996, as a visiting scholar, he studied abroad at Royal Institute of Art, Stockholm, Sweden. In 2000, Tie Ying started to create large concept photography along with digital photography works. In 2004, he started his own art studio in 798 Art Zone. In 2005, he signed with Marlborough Gallery, New York and held his first solo exhibition “State Power” in the United States that year. In 2009, he held solo exhibition “Back Fire” at Mai36 Gallery Showroom in Zurich, Switzerland, and exhibition “Masses” in Element Gallery in Singapore. In 2012, Tie Ying restarted to create oil paintings and held solo exhibition “Hypnosis” at 2013 in H.T Gallery located in 798 Art Zone.

Collections aZure collection, Monaco, Zurich DSL Collection, Paris, France Chinart Collection, Zurich, Switzerland Prince Albert II , Monaco PALM Collection, London, England Barclays Wealth Monaco, Monaco Marlborough Fine Arts Inc. New York, USA

边界 Frontier 2012 oil on canvas, 25 X 33 cm

特别鸣谢：陈雷，吴涓，贺潇，龙荻 Special Thanks: Chen Lei, Wu Juan, Fiona He, Di Long

封面与封底图像：幻迹系列01，02 Cover image: Chasing The Trance Series 01, 02 2014 oil on canvas 100 x 80 cm, 100 x 80 cm

印制：北京和枫书缘彩印技术有限公司

北京朝阳区酒仙桥路二号院798艺术区D - 06 D - 06, 798 Art Zone, No. 2 Jiuxianqiao Road, Chaoyang District, Beijing, China info@boersligallery.com