EGG画廊荣幸地宣布，绘画群展“四元色——晕色之美”3月6日已开幕。此次展览由知名策展人夏可君策展，展期将持续至2016年4月10日。

当代中国绘画开始回归到美本身上，这是内美，既是色彩的秀雅，也是看视的内观，即从心性与自然的感性相通上，重新让色彩焕发出灵晕，既要有着中国色的自然性与诗意的隽永，又要有着西方对比色的丰富性以及单色绘画的概念性，重要的是在技术复制时代，重新发现灵晕的色感？颜色的形而上学？

“色即是空，空即是色，色不异空，空不异色。”佛教的色彩观在一个现代性的虚无主义时代，其实更为具有激发一种“内观”与解构思维的可能性：作为现象的颜色，无论多么繁盛与漂亮，终归会褪色，因此需要简化为黑白；但黑并非黑色，而是玄色，玄暗中涌动可能的颜色，白并非白色，而是虚色，虚色中隐含浑沌的浑化；现代性的颜色并非仅仅显示色彩，而是打开空间，玄色以其深沉，退入内心的冥思，虚白以其空灵，打开无维度；绘画在物象变形——平面基底——材质触感三者的贯通上，一旦达到一致，一种新绘画就会出现。

颜色是绘画的节日，颜色乃诗意的政治，颜色乃呼吸的音律，颜色的色感是在心性与自然之间的呼吸节律中生成。以心性化的黑白为底色，以自然化的青绿和浅绛为基调，本次四位艺术家的展览，就带给我们一种新的“四元色”：中国水墨的黑白与青绿赭石，设色与素色两种色感系统，在面对西方黑白的单色绘画，面对西方颜色的对比中，在看似单色中隐含微妙含蓄的丰富色层。桑火尧以绢块叠加形成的透明绢色，既有空灵秀丽之美，还有着抽象空间的套叠，并且还接纳现代性的残缺感，让玉质感与青绿浅绛之色重新获得了现代的灵晕之美。王爱君以新的没骨画法重新激活了空白的灵晕，让巨大的空白在天地之间回响在色彩的细微过渡起伏之中，看似油画与水彩，实际上是水色的微妙之美，也让我们面对意外巨大事件的来临时有着内心的平坦与安然。田卫则以其佛教修行的内观，让一道玄白的光线主宰画面，引导着层层涌动的色彩，看似单色，实际上隐含无数细微的色层变化，面对纷纭的现实，以内观之色调节我们的心绪。而于洋以其色条的颜色组合，让我们看到了抽象与极简的美感，色条以黑白和浅绛为基调，赋予其排列组合的韵调变化，在镂空套叠中还有着平面深度的重新塑造。

本次EGG画廊的展览，是四位艺术家对虚色美学的个体想象与诗意描绘，在现场的两两对照与四重回应中，让我们看到了“虚色”的当代气质，让我们在现代性的崇高美学之后，进入更为微观的感知经验，“墨隐色”与“色隐墨”，颜色在含蓄隐匿之中透露微妙的虚薄之美，接纳现代性的创伤与破碎，并有所爱抚，“四元色”乃是微观形而上学的见证。

EGG Gallery ispleased to announce the opening of new exhibition “Tetrachromacy: The Beauty ofIridescence” on 06/03/2016, It presents the artworks of Sang Huoyao, WangAijun, Tian Wei, Yu Yang. We specially thank to Xia Kejun, a renowned curator,The Exhibition will be continue 10/04/2016.

Contemporary Chinesepainting is starting to make a turnaround in the direction of beauty itself.This beauty is internal, but also relates to a refinement of color, themindfulness of viewing. Otherwise put, through a perceptual link betweentemperament (xinxing) and nature (ziran), colors are once again allowed tolet their auras radiate. These paintings are possessed of the natural andpoetic meaningfulness of the Chinese color palette, yet they also possess therichness of Western contrasting colors as well as the conceptual qualities ofmonochromatic painting. The most important question is: how can the auralcolor-sense (se gan) be rediscoveredin this age of technical replication and proliferation? How does this relate tothe metaphysics of color? In this modern age of nihilism, Buddhist views oncolor and space possess all the more possibilities for stimulating an"introspective meditation" (neiguan,i.e. Vipassana) and deconstructionist thought. Given the repeatedsimplification of black and white, black isn't really black. Rather, it becomesa profound color (xuan se), amysterious darkness that swarms with potential color. White isn't really whiteeither. Rather, it is an imaginary color (xuse), a virtual color in which a chaotic turbidity is implied. The colors ofmodernism don't just reveal colors and hues. Rather, they open up spaces inwhich the depths of profound colors (xuanse) recede into meditative thought of the innermost being, and the etherealnessof virtual colors (xu se) opens upthe dimensions of nothingness.

Colors are festivalsof painting. They constitute a politics of poetry. Moreover, colors are therhythmic temperament of breathing. The color-sense of colors is generated inthe respiratory rhythm between temperament and nature. Four artists present uswith a new "tetrachromacy": the black/white and turquoise/ochre ofChinese ink wash painting. The color-sense of color schemes (she se) and monochromes (su se) is confronted with Westernblack/white monochromatic painting. Subtly connoted, rich color gradients

are implied withinthe apparent monochromacy. Sang Huoyao uses overlapping pieces of silk, givingshape to transparent silk-like colors that possess an ethereal beauty and displaya superposition of abstract spaces, as well as integrate a modernist sense ofimperfection. The artist allows for jade-like, turquoise and light crimsoncolors to regain their modern aural beauty. Wang Aijun uses a new"boneless" painting method to reinvigorate the aura of blank spaces.He lets giant blank spaces reverberate within the world's subtlecolor-transitions and -fluctuations. The subtle beauty of the color of water (shui se) manifests itself in what appearto be oil paintings and watercolors. He sees to it our inner being remainsunperturbed and peaceful, even when confronted with unforeseen, huge events.Through his Buddhist cultivation practice, Tian Wei lets streaks of mysterious,white light dominate the canvas, thereby conducting a surge of color-layers.His seemingly monochromatic paintings actually implicitly contain endlesssubtle changes in color-layers. Confronted with a cacophonous reality, theartist helps us regulate our state of mind using the colors of introspectivemeditation. Finally, using the color combinations of his color strips, Yu Yangpresents us with an abstract and minimalist aesthetic. With black/white andlight crimson as his key colors, the artist carries out constant rearrangementsand tonal changes. Through hollowing out and overlapping, he effectivelyreimagines planar depths in his canvases.

By antitheticallypairing these works and letting them engage in fourfold response to oneanother, a contemporary ethos of "imaginary color" (xu se) appears. The works' implicitlyconcealed colors reveal a subtle inframinceaesthetic, into which the traumas and fractures of modernity are admitted, aswell as tender care and love. "Tetrachromacy" serves as a testimonyto micro-metaphysics.