孙阳（victor sun）《对称系列—移山》油画展
2008年11月8号下午3点—11月28号
深圳 罗湖区 南极路 罗湖文化创意广场展览馆
主办单位：深圳市罗湖区文化局，深圳市罗湖区美术家协会
孙阳：1986 年出生于Binghamton NY USA（宾汉顿 纽约 美国）
2008年毕业于Pratt Institute NY USA (普瑞特艺术學院油画与绘画专业)
相关的照片在推荐者（当中）的相册里
我看青山多妩媚，料青山看我应如是
孙阳（Victor sun）《对称系列—移山》略评 闪隽
作者将画展命名为《对称系列--移山》，90多幅作品分归五组，区别为移山之一至五。
对称的定义在不同的领域有不同的语言描述。简单的归纳后将会发现，它们可以在以下两点等价，其一是做了什么操作转换？其二是操作转换后具有什么不变性？例如，平面几何图形圆，绕轴心作某一角度旋转（操作转换），圆的几何图形保持不变（不变性），所以，圆的几何形状具有对轴心的旋转对称。还有，我们经常说的一句话：放之四海而皆准的真理，“放”在这里就是转换，“准”就是一致不变，所以，真理在适用的时空保持对称。简而言之，对称意味着施加某种变换后的不变性。
移山之一，经过转换变形后的山体，被安排在各画面的前景。中景用比前景的山体还要大的彩色太湖石和周围的花草来呼应，使本应近大远小的透视逻辑遭到破坏，这个冲突可由观众对前景的山体再自行做视觉变换来解决。后景留出大片空白，这十分重要，使画面看起来像混合了工笔重彩和传统写意的中国山水画。变形的山体虽然夸张离奇，但刻画细致入微，用色鲜艳，画面干净利索，使人感觉奇异如幻，生机勃勃，力量十足。画中多数元素和传统中国画的常用元素不同，所以作品肯定不是传统的，但很难肯定不是中国画。作者以自己的理解和方法表现出对中国文化兼收并蓄能力的认同。
移山之二，作者将移山之一里几乎所有元素分离后，按色彩，形状，大小，重新协调组合起来，用剪贴的手法放在黑与白的鲜明对比之中，形成一个整体上均衡安定且色彩夺目的画面。当观众对画面里的离散元素具体地关心时，重心有不同角度倾斜的元素安排，会令人产生失衡感觉和刺激，由于没有在上下左右各个方向对作品做出区别，所以作品可以随意悬挂，从而使观众想参与重新安排或直接干预的愿望得以进行。作品表达了，开放理性的安排是理性的开放态度的结果。
移山之三，作者用黑色将山体涂抹勾勒出来，在三张尺寸较大的画面上，用类似书法的形式将简化的山体或穿插或连接或重叠，置于画面的主要位置上，五张尺寸较小的画出自三张大画的局部剪裁。介于黑白之间，几乎什么都省略掉，万物都化成可见白光和折射出变形的彩虹，这一归纳使得画面简练而丰富，既有对比又十分调和，形成一种张弛有度，翻天覆地的气势。局部剪裁与整体的刻意对比反映了：整体与局部的视觉内容差具有普适性，分形（局部每一细节与整体同构同形）现象应只是例外。这是非常有意思的暗示，中国传统文化中的集体主义也是例外？
移山之四，采用了移山之二的思路，使作品能够随意悬挂，由于尺寸较小，多张作品可以组合展示，以取得不同的气氛和效果。对山体的操作转换采用了移山之三的手法，通过画笔粗细，色彩冷暖及浓淡等变化，运笔加速，对山体从画面各个方向进行勾勒，弯曲，扭转等变形转换。四十张画一气呵成，决心坚定，简繁有序，互相牵挂，看起来七彩斑斓，五色流转，生意欣然。使人感受到了决定论与偶然性，宿命论与自由意志的调和以及有序与混沌的轮回。
移山之五，一改前面四组作品的布面油画形式，采用纸质画面和铅笔，钢笔，炭笔，毛笔，刮刀等工具，颜料采用了油画颜料，丙烯，水彩，墨水，油画棒等，由底及面，用书写，涂鸦，刻画出各种符号，文字，人物，花鸟，然后覆盖并分层隐隐显出。最后在表面用相同色调对山体做各种变换。通过上述处理后，与前几组画相比，气势收敛，速度放缓，转换后的山体轻盈优雅，座落自由，态度平和，色彩丰富生动，活泼悦目。暗示了：今天对我们来讲是美好的，将会被明天更美好的所取代所覆盖。
《对称系列—移山》的整体感觉很有生气，乐观向上。它展示了一个坚定的信念：世界上有多少令我们悲观困惑的根据，就会存在同样或且更多值得我们乐观自信的理由。
On Victor Sun’s Symmetry: Operation On Mountain
Shan Jun
The artist named this exhibition "Symmetry: Operation on Mountain", over ninety paintings are presented in five groups, titled Operation on Mountain I-V respectively.
The definition of symmertry varies in different fields. After easy induction, we can see that all of these definitions equate on the following two factors. 1. What kind of operations/transformations are being made. 2. What are the invariabilities after such operations/transformations. For example, after spinning the geometric shape circle on its axis to any degree (operation), the geometry of the shape remains unchanged (invariability). Therefore, the geometric shape circle is symmetrical relative to the revolvement on its axis. Likewise, when we describe something as an "universally applicable truth", "universally" clearly indicates that it undergoes numerous change in environments (operation); "applicable" implies that it is an invariability. Thus truth stands symmetrical in relevant time and space. In simple words, symmetry signifies what is constant after certain manipulations are applied.
In series I, the transformed and deformed mountains are arranged in the foreground of each painting. The distinction between these forms, within and beyond the paintings, are mapped by colors loud and saturated. The middle ground is echoed by Tai-lake stones that are larger than the mountains in the foreground. Flowers and leaves interlacing the space. The visual logic of perspective is broken down by these amplified objects. This conflict can be solved by the audience's voluntary transformation according to the picture plane. The bacground is left blank, which is substantial for it ties the series with traditional Chinese fine-brush heavy color and free-hand watercolor paintings.Most of the elements in the paintings are very foreign to traditional Chinese techniques. Although the transformed mountains look bizzare and exaggerated, with careful alteration by the artist, the series is clean and sharp. Presented much oddity and mystery, but full of liveliness and strength at the same time. The series is surely untraditional, yet it is very hard to say that it is not Chinese. It shows the charactoristic of Chinese culture in terms of incorporating things of diverse nature and its ability to contain and digest.
In series II, the artist extracted elements from the first series, reconstructed them based on their color, shape and size. The elements are placed on a contrasty background consisting solely back and white, forming pictures that are harmonious and chromatic. When the audience pays attention to the scattered elements, the ones arranged to tilt away from the horizontal line would trigger a strongly unbalanced stimulation. Since the artist did not intend to differentiate the direction of the compositions, the peices could be hung in any way, satisfying the desire of the audience to participate in reshuffling and directly interacting with the work. The sensible decsion to be so openly accesible is inevitably a result of a rational attitude, such relation is invariable.
In series III, the artist sketched the contours of mountains in jet black strokes. In three of the larger pieces of the series, mountains are simplified into calligraphic lines, weaving, connecting and overlaping, dominating the canvas. The eight smaller pieces derive from partial trimmings of the large ones. Upon the purest of black and white, almost everything is omitted, all are abstracted into rainbows deflected from white light. This generalization offers an image both succinct and abundant. The series shows contrast yet well-blended tension, shocking the eye with imposing manner. Through comparison of trimmed parts and the original pieces, we can conclude that the divergence of visual content between the part and the whole has a certain universality. Fractal (a geometric pattern that is repeated at every scale) is only an exception. This is an extremely interesting implication: is collectivism in traditional Chinese culture an exception too?
In series IV, the artist adopted his train of thought in series II, leaving the compositions ready for rotation. Due to their sma
2008年11月8号下午3点—11月28号
深圳 罗湖区 南极路 罗湖文化创意广场展览馆
主办单位：深圳市罗湖区文化局，深圳市罗湖区美术家协会
孙阳：1986 年出生于Binghamton NY USA（宾汉顿 纽约 美国）
2008年毕业于Pratt Institute NY USA (普瑞特艺术學院油画与绘画专业)
相关的照片在推荐者（当中）的相册里
我看青山多妩媚，料青山看我应如是
孙阳（Victor sun）《对称系列—移山》略评 闪隽
作者将画展命名为《对称系列--移山》，90多幅作品分归五组，区别为移山之一至五。
对称的定义在不同的领域有不同的语言描述。简单的归纳后将会发现，它们可以在以下两点等价，其一是做了什么操作转换？其二是操作转换后具有什么不变性？例如，平面几何图形圆，绕轴心作某一角度旋转（操作转换），圆的几何图形保持不变（不变性），所以，圆的几何形状具有对轴心的旋转对称。还有，我们经常说的一句话：放之四海而皆准的真理，“放”在这里就是转换，“准”就是一致不变，所以，真理在适用的时空保持对称。简而言之，对称意味着施加某种变换后的不变性。
移山之一，经过转换变形后的山体，被安排在各画面的前景。中景用比前景的山体还要大的彩色太湖石和周围的花草来呼应，使本应近大远小的透视逻辑遭到破坏，这个冲突可由观众对前景的山体再自行做视觉变换来解决。后景留出大片空白，这十分重要，使画面看起来像混合了工笔重彩和传统写意的中国山水画。变形的山体虽然夸张离奇，但刻画细致入微，用色鲜艳，画面干净利索，使人感觉奇异如幻，生机勃勃，力量十足。画中多数元素和传统中国画的常用元素不同，所以作品肯定不是传统的，但很难肯定不是中国画。作者以自己的理解和方法表现出对中国文化兼收并蓄能力的认同。
移山之二，作者将移山之一里几乎所有元素分离后，按色彩，形状，大小，重新协调组合起来，用剪贴的手法放在黑与白的鲜明对比之中，形成一个整体上均衡安定且色彩夺目的画面。当观众对画面里的离散元素具体地关心时，重心有不同角度倾斜的元素安排，会令人产生失衡感觉和刺激，由于没有在上下左右各个方向对作品做出区别，所以作品可以随意悬挂，从而使观众想参与重新安排或直接干预的愿望得以进行。作品表达了，开放理性的安排是理性的开放态度的结果。
移山之三，作者用黑色将山体涂抹勾勒出来，在三张尺寸较大的画面上，用类似书法的形式将简化的山体或穿插或连接或重叠，置于画面的主要位置上，五张尺寸较小的画出自三张大画的局部剪裁。介于黑白之间，几乎什么都省略掉，万物都化成可见白光和折射出变形的彩虹，这一归纳使得画面简练而丰富，既有对比又十分调和，形成一种张弛有度，翻天覆地的气势。局部剪裁与整体的刻意对比反映了：整体与局部的视觉内容差具有普适性，分形（局部每一细节与整体同构同形）现象应只是例外。这是非常有意思的暗示，中国传统文化中的集体主义也是例外？
移山之四，采用了移山之二的思路，使作品能够随意悬挂，由于尺寸较小，多张作品可以组合展示，以取得不同的气氛和效果。对山体的操作转换采用了移山之三的手法，通过画笔粗细，色彩冷暖及浓淡等变化，运笔加速，对山体从画面各个方向进行勾勒，弯曲，扭转等变形转换。四十张画一气呵成，决心坚定，简繁有序，互相牵挂，看起来七彩斑斓，五色流转，生意欣然。使人感受到了决定论与偶然性，宿命论与自由意志的调和以及有序与混沌的轮回。
移山之五，一改前面四组作品的布面油画形式，采用纸质画面和铅笔，钢笔，炭笔，毛笔，刮刀等工具，颜料采用了油画颜料，丙烯，水彩，墨水，油画棒等，由底及面，用书写，涂鸦，刻画出各种符号，文字，人物，花鸟，然后覆盖并分层隐隐显出。最后在表面用相同色调对山体做各种变换。通过上述处理后，与前几组画相比，气势收敛，速度放缓，转换后的山体轻盈优雅，座落自由，态度平和，色彩丰富生动，活泼悦目。暗示了：今天对我们来讲是美好的，将会被明天更美好的所取代所覆盖。
《对称系列—移山》的整体感觉很有生气，乐观向上。它展示了一个坚定的信念：世界上有多少令我们悲观困惑的根据，就会存在同样或且更多值得我们乐观自信的理由。
On Victor Sun’s Symmetry: Operation On Mountain
Shan Jun
The artist named this exhibition "Symmetry: Operation on Mountain", over ninety paintings are presented in five groups, titled Operation on Mountain I-V respectively.
The definition of symmertry varies in different fields. After easy induction, we can see that all of these definitions equate on the following two factors. 1. What kind of operations/transformations are being made. 2. What are the invariabilities after such operations/transformations. For example, after spinning the geometric shape circle on its axis to any degree (operation), the geometry of the shape remains unchanged (invariability). Therefore, the geometric shape circle is symmetrical relative to the revolvement on its axis. Likewise, when we describe something as an "universally applicable truth", "universally" clearly indicates that it undergoes numerous change in environments (operation); "applicable" implies that it is an invariability. Thus truth stands symmetrical in relevant time and space. In simple words, symmetry signifies what is constant after certain manipulations are applied.
In series I, the transformed and deformed mountains are arranged in the foreground of each painting. The distinction between these forms, within and beyond the paintings, are mapped by colors loud and saturated. The middle ground is echoed by Tai-lake stones that are larger than the mountains in the foreground. Flowers and leaves interlacing the space. The visual logic of perspective is broken down by these amplified objects. This conflict can be solved by the audience's voluntary transformation according to the picture plane. The bacground is left blank, which is substantial for it ties the series with traditional Chinese fine-brush heavy color and free-hand watercolor paintings.Most of the elements in the paintings are very foreign to traditional Chinese techniques. Although the transformed mountains look bizzare and exaggerated, with careful alteration by the artist, the series is clean and sharp. Presented much oddity and mystery, but full of liveliness and strength at the same time. The series is surely untraditional, yet it is very hard to say that it is not Chinese. It shows the charactoristic of Chinese culture in terms of incorporating things of diverse nature and its ability to contain and digest.
In series II, the artist extracted elements from the first series, reconstructed them based on their color, shape and size. The elements are placed on a contrasty background consisting solely back and white, forming pictures that are harmonious and chromatic. When the audience pays attention to the scattered elements, the ones arranged to tilt away from the horizontal line would trigger a strongly unbalanced stimulation. Since the artist did not intend to differentiate the direction of the compositions, the peices could be hung in any way, satisfying the desire of the audience to participate in reshuffling and directly interacting with the work. The sensible decsion to be so openly accesible is inevitably a result of a rational attitude, such relation is invariable.
In series III, the artist sketched the contours of mountains in jet black strokes. In three of the larger pieces of the series, mountains are simplified into calligraphic lines, weaving, connecting and overlaping, dominating the canvas. The eight smaller pieces derive from partial trimmings of the large ones. Upon the purest of black and white, almost everything is omitted, all are abstracted into rainbows deflected from white light. This generalization offers an image both succinct and abundant. The series shows contrast yet well-blended tension, shocking the eye with imposing manner. Through comparison of trimmed parts and the original pieces, we can conclude that the divergence of visual content between the part and the whole has a certain universality. Fractal (a geometric pattern that is repeated at every scale) is only an exception. This is an extremely interesting implication: is collectivism in traditional Chinese culture an exception too?
In series IV, the artist adopted his train of thought in series II, leaving the compositions ready for rotation. Due to their sma
哎哟不得了，还孙胜利呢，最烦有英语名字的人
http://www.douban.com/mine/photos 孙阳（victor sun）油画相册的链接地址
孙阳（victor sun）油画相册的最新链接地址 http://www.douban.com/people/3183541/
[quote]引用楼主小青年于2008-11-12 12:22:07发表的:
孙阳（victor sun）《对称系列—移山》油画展
2008年11月8号下午3点—11月28号
深圳 罗湖区 南极路 罗湖文化创意广场展览馆
主办单位：深圳市罗湖区文化局，深圳市罗湖区美术家协会
孙阳：1986 年出生于Binghamton NY USA（宾汉顿 纽约 美国）
2008年毕业于Pratt Instit...[/quote]
很有意思。。。值得一看。。。
