展览名称：《13日》—彭伟衡作品展
展览时间：2010年12月31日—2011年1月25日
开幕酒会：2011年1月1 下午3点—6点
策展人：林松
展览地点：北京朝阳区酒仙桥2号798艺术区东街11号高台阶厂库D08北京世纪翰墨画廊
主办单位：北京世纪翰墨画廊
电话：8610—59789915  
信箱: hanmoart@yahoo.cn 
网址: www.hanmo.com.cn

Exhibition name：《13 days》—PengWeiheng’s work exhibition
Exhibition Date：31 Dec2010—25Jan 2011
Opening reception：3:00—6:00 PM　1Jan 2011
Venue：Hanmo Art Gallery ,D08 High Step Factory Warehouse, No 11 East street,798 Art District,No.2 Jiuxianqiao Rd, Chaoyang District, Beijing Organizer：Hanmo Art Gallery
Tel：8610—59789915 
Email: hanmoart@yahoo.cn
Website: www.hanmo.com.cn
 

彭伟衡——都市的隐者

邵培德2010/12/4于北京

 
 
        在彭伟衡新的工作室参观了他的近作，有七八张人体一看颇似新古典主义情怀的作品。但主题又似乎是逃逸现实主义油画，一股毫不令我奇怪的宁静唯美的气息。加上一些当代意识里的虚无、无奈、感伤甚至荒谬的元素，被平静地铺陈出来。我相信他已经准确地把握了他十年前在找寻的东西。技法与内心反复焦虑的过程似乎已经过去，画面感趋于成熟甚至很圆融。古典主义嫁接了现代人性的虚无、空洞、无聊的状态作为对象的造型意念。加之一种存在与虚无的展现，似乎是彭伟衡整个人一直坚韧地以逃逸的人生观的生存历程的外化，是一个艺术家敏感内心及顽固理想的坚持，我相信他是接近醇化成功的优秀画家。
        认识彭伟衡有十多年了，1999年我们曾在中央美术学院一起画画，那时的美院是新美院建成前临时在大山子租用的旧厂房，条件不是很好，和那时所有的北漂族一样，我们是带着一颗对艺术圣殿的仰慕之心而来。初见伟衡时，你会感到一种清爽、干练的气息扑面而来，平静如秋水一般的眼神后留有一丝忧伤，稍显苍白的脸上有些许殉道者的情态。那时的伟衡二十六、七岁只身来到北京，除了每天勤于画画外，还得经常挤时间甚至熬夜来做些零活以维持生计。今天大山子的798已经是国际知名的艺术区了，但十年前的中央美术学院所在的大山子还很荒凉，当时很多画画的年轻人都在村子里租房子住，伟衡是住在离美院大约有十来里地的东辛店。我们记得他是个少见的极不怕冷的南方人,冬天上课时常常看到他穿着很少的冬装，脸冻得红红的骑自行车冲进校门，有时天太晚了，我发现他会在教室里裹着模特台的衬布睡上一晚。但伟衡应该是深受古典绘画影响的或许是骨子里有些古典气质，偶尔会流露某种贵族派头。我几乎从未见过他有过太窘迫的表现，也许已经穷得叮当响了，若是手头稍微宽裕，他会请大家到他的住处小聚，领略他简单而精致的厨艺。他的那些比起大多数北漂族显得颇有品质的餐具、做派很显格调。我常常会想起伟衡个子不高，而平时言谈举止中微昂着头,有一种沉静内敛的傲气。的确，伟衡骨子里有股非同寻常的傲气，也许这正是十几年能够让他淡定踏实、持之以恒地在北京画画的性格资质。
        伟衡是很少交际的，在燕郊的多年，仅有的几个要好的画友也很少相见，是一个深居简出的都市隐者。 2000年的冬天，我俩已经是无所不谈的挚友了，美院单车棚酒吧成了我们常去小聚之处，记得那年的圣诞与新年我们很多同学聚在那里通宵喝酒跳舞，有时借着 酒兴也会谈些内心的小秘密，在这里,一个亲切灵动的女孩名字通过他的口第一次进入我的记忆。过不多久的一个寒冷早晨，地上还有积雪，我惊奇的发现他一个人以很标准的坐姿静静地坐在校门口的一个水泥墩上，眼睛直钩钩的盯着远方，后来我常开玩笑说那时的他像等待主人归来的小狗。那个早晨伟衡等到的那个清瘦女孩，就是这十多年他像殉道者一样的艺术追求道路的唯一同行者。我相信没有她的陪伴，他的艺术追求之路将是何等的艰难。那时这个正在北京电影学院上学的女孩不到二十岁，她应该是那种完全献身给精神追求的另一个殉道者，她的灵气、感性、激情、求知欲，相信这十年都成为彭伟衡绘画上坚守自我追求之路的臂膀，的确，那个冬天早晨伟衡等到的就是他的主人。
彭伟衡的绘画像他的人本身一样是静谧的、内敛的、有些虚无、有些无奈，非常着迷于一些细节的无止尽的描述和虚幻迷离的空间幻化，色彩古典，情绪清淡，一些雅致的甚至孤傲眩迷的意向在画面的整体和每一个细微的笔触和色彩中伸展，有时，你找不到这些色彩可资参照的空间环境，一个你完全不熟悉的背景，写实与象征包容为一体。早些年伟衡有许多具象表现的作品也是非常精彩的，一张对着镜子涂面霜的脸，甚至到每一个细小的泡沫都被精心刻画；一组像中世纪祭坛画似的三联画，显示了他与生据来的宗教情结；一些像中国画条幅似的表现玉米、高梁的油画，展示了他曾经 有过的中国画训练；一些猪和它们的文字对话则清晰的透视着他于京城十多年融入当代绘画里的历程......
        一个艺术家的创作历程如同人生的任何一段生命历程都在彰显着过程的价值，人的内质决定他的人 生品质和创造的品质，我所看到的他的人格和艺术品质都饱含着高贵的精神力量。今天他的作品已然具有了优秀艺术品的完备元素，作为一位艺术上的挚友我是兴奋而倍感激励。我不知道商业上的成功对每一个艺术家是否不同，塞尚的人生是最真实的享受艺术的人生，我是很敬畏的，伟衡一直静如处子，有一天你真的很成功了，还会是一个避世的隐者画家吗？
 
 
 
Peng Weiheng – the Hermit in the City

Shao Peide  2010.12.4 BeiJing

I have appreciated the recent works of Peng Weiheng in his studio, there were seven or eight pieces of nude which seems to have the feeling of new classism at the first glances. But their topic seems to be the oil paintings of escaping realism. A peaceful and aesthetic breath which doesn’t make me feel strange, and the windy, resigning, sad or even absurd elements in the modern ideal are expressed peacefully. I believe that he has accurately grasped what he was finding in the past ten years. The procedure of repeatedly anxiety and skills seems to have passed, and his feeling of painting tends to be mature or even harmonious. The classism grafts the windy, void and tiresome status of the modern humanity as the ideal of modeling of the objects. Plus the presentation of existence and windiness, it seems that Peng Weiheng is insisting the externalization of the procedure of survival with the outlook on life of escaping. It is the sensitive internal thought of an artist and the insisting of his stubborn ambitions and I believe that he is an excellent artist being near to the successful alcoholization.

I recognized Peng Weiheng for more than 10 years, and we had painted together in Central Academy of Fine Arts in 1999. At that time the academy rented the old factories in Dazhanzi temporarily before the new academy have been built, so the conditions are not very good. Just like all the persons going to work in Beijing, we just come with the heart of admiration to the saint palace of art. When seeing Weiheng for the first time, you can feel the salubrious and experiences feeling; his eyesight was as peaceful as autumn river, and there is some sadness behind it; the pale face shows the emotion of martyr. Weiheng came to Beijing when he was 26 or 27 years old, besides drawing diligently every day, he had to also take his time – or even stayed up all night – to do some part-time jobs for survival. Now 798 in Dashanzi has become the internationally famous art zone, but that place where CAFA locates was very bleak ten years before; at that time a lot of young painters rented houses in the villages, and Weiheng lived in Dongxindian, which was about 5 km far away from CAFA. We remember that he was a man from Southern China which didn’t fear coldness, and such man is very scarce. In the winter, we often saw that he wore few clothes and his face was frozen to red, riding bike and rushing into the colleges. Sometimes when it was very late, I found he was sleeping in the classroom with the lining clothes on the model stage wrapping him. But Weiheng was affected by the classical painting, for he had some classical quality in his character – sometimes he can expose the manner of nobleman. I nearly haven’t seen any his behaviors of being embarrassed, maybe he was very poor, but only if he had some money, he would invite everyone into his home for meeting and appreciate his simple but exquisite cooking skill. His manners and tableware which seemed more better than other person going to work in Beijing had shown good style. I can often thought of Weiheng – a not very tall man but he had a peaceful and repressed air of arrogance in the normal talking. In fact, Weiheng had the extraordinary air of arrogance in his character; maybe just for such reason, he can insist painting in Beijing at ease.

Weiheng seldom took part in the communicative activities, and he seldom met his several good friends of painters when he lived in Yanjiao for many years. He poked himself in the room and was an urban helmet. We had become the close friend in the winter of 2000, and we often meet in “Danchepeng” bar nearby CAFA. I remembered that a lot of our classmates drunk and danced there in the Christmas Day and New Year’s Day of that time, and sometimes we often talked about some little secrets after drinking for some cups of wine. There I remember the name of a sincere girl by his saying. In a cold morning not long after the party, there were some snows on the ground and I found that he was sitting on a cement block nearby the college gate with a standard posture lonely and I felt very astonished. He glared at the place far away, and I often made joke that he was just like a doggy waiting its master coming back. The thin girl whom Weiheng was waiting for at that morning was the sole accompaniers during he pursued to the air just like a martyr during these ten years. I believed that without her accompanying, his road of pursuing to the art will be hard. At that time this girl – who was a student of Beijing Film Academy – was only 20 years old. She was another martyr who totally devoted herself to the spiritual carrier. I believe that during these ten years, her anima, sensibility, passion and thirst for knowledge had become a good assistant of Peng Weiheng when he was insisting pursuing to his own values in the painting. Actually, Peng Weiheng was indeed waiting for his master in that morning in the winter.

The painting of Peng Weiheng is silent and repressed just like himself. There are some nothingness and resignation in his painting, and he was focusing on some endless description to the details and the fantastic space transformation. His colors are classical and his feeling is light. Some elegant or even exclusive intention is expanding in the overall painting and each detailed brushes and colors. Sometimes you cant find the space environment which these colors can refer to; a background which you are totally not familiar with and the reality and symbolization are incorporated together. Some early works of Peng Weiheng was also very fine, a face facing to the mirror and has the cream painted on, even each little foam was finely painted; a triptych just like the altar in the Middle Ages showed his inherent religious complex; some oil painting presenting maze and broomcom just like the scrolls of traditional Chinese painting showed his previous training on Chinese paintings; some pigs and their textual dialogue presents his procedure of incorporating in the modern painting in Beijing in the recent ten years…

The creation procedure of an artist is showing the value of the procedure, just like any section of the procedure of life. The internal essence of a man decides the quality of his life and creation. His humanity and art quality which I have seen are full of noble spiritual strength. Today, his works have had the total elements of excellent art works, and I am very exciting and incentive as a cordial friend of him in the art. I don’t know whether the commercial success is different for each artist. The life of Cezanne is the most real life enjoying art and I revere it very much. Weiheng has been quiet as a pussy, but if your are very successful in the future, are you still a helmet painter living a sequestered life?

一个心行者的艺术之道

青岳2010.12.10北京

        我的哥儿们彭伟衡，据说他的客家小炒美味实足，但一直没有机会品尝到。不过他的精神产品我倒是品尝了不少。
        个展在即，邀我给他写篇小文，实在是难为我。平日里连话都说不全的人，居然也敢在这儿舞文弄墨，见笑了。还望见者多多包涵。十年前，认识他的时候看上去还是个后生的他，现在俨然是被生活折磨成了个半大老头了。在这十年里，他也被自己的活计折磨的脱胎换骨了。
        开门见山吧！从他的摸索方向来看，他弃这个时代的光怪陆离、魔幻现实的万花筒表象世界而不顾，毅然走进他内心，走进绘画本源，类似十六七世纪以前的画家的造型方法。那个时候的画家描绘神话故事。而他，描绘自己。在我看来，他所有绘制的人物不分男女，均可认做是他自己情思的转化，画面里人的形象、动态，是他内心的外化。以浪漫主义的方式呈现出来。伟衡是个比较自恋的人，迷恋自己的手艺，迷恋那种从细小中凝结的成整体给他带来的快感。当我界定在此时，就有的比较了。他的造型方法在传统的基础上却背离了那种客观的逻辑，穿越真实性的界限，不是为了逃避真实世界，而是以浪漫主义的方式更好地把握它。传统的方法是显见的、对比的、明确的、色彩是明朗的。而他的画面色彩是浑浊、沉闷、恍若在烟雾里。造型在柔和、弱化中甚至能感到压抑而紧绷的情绪。他放弃了描绘中明朗而显见的传统对比方法，而用渐强而克制的方式将描绘进行下去。从容不迫、举重若轻地描绘，在软弱中越来越有力量和味道。当最后的高潮在描绘的渐强里逐渐接近并且终于来到时，它就会显示出人生的重量和命运的空旷。
        当我叙述到此刻，不由得在想他的审美是怎样形成的……我不了解他的童年，一个艺术家的童年对他日后的艺术及审美取向是非常重要的。他的画面让我想起古典画家卡拉瓦乔，或许大家会笑出声啦！这是哪跟哪儿啊！别误会，是，天壤之别！卡用幽暗的调子来对比衬托事物，使画面更赋予戏剧性和神秘感。而伟衡他弱化了强烈，改戏剧性为浪漫化，而且保有了那种神秘及空旷。其倾向微弱的灰色调子统设整个画面，在这种烟雾般的调子里，伟衡赋予各种物体以生命。卡拉瓦乔的用光是戏剧性的，色彩是强烈而外在的；伟衡的用光是克制的发至于内心需求。色彩节制，形体塑造宛如一个工艺师在打磨一块玉一般，让人紧张,却是爱不释手。从方法论上，伟衡是取之于西方传统塑造方法；在审美上，他走了与之相反的审美道路；在视觉上，他不是那种传统的唯美感受，而是自足的、自在的、去物质化的，且有浪漫主义倾向的，更多的表达自身的内在需要。他的审美是自觉而反省的，传承来源是中国农业文明传统士大夫的审美。例如传统文人画里所表现的那种自足性和内在需求的个人抒发。在他的画面里我们看到的灰色调子下，和谐场景里与之相反的是事物之间的突兀。事物之间的突兀在哀婉、消极、空旷的色调氛围里被孕育着更多的可能。
        我和伟衡都是奔四的人了。古语有云，四十不惑。而我们惑一堆。在这样的环境里伟衡没有直接面对环境给予的困惑，而是回到自己的精神生活当中。用审美的方式呈现在审美的过程中所能感触到人性的种种遭遇，展示与其它方式所提供的不同想象力。
        其实我和伟衡在一起的时间很少，我没有从他的言谈话语中得到过任何关于他对现实处境的感慨。是的,他貌似并不关心时代、政治作用下人的问题。当我面对他的作品时，才发现伟衡敏感的触觉、细腻的情思。在我们成长的这个环境，自从“解放”以来，每一代人都有每一代人的境遇。在这种境遇中，不是任何人都能为自己做主的。最为让人感到迷茫的是那种一代人与一代人的断裂，而不是承继关系。是“革命”关系，是“改革”关系。好在我们终于“开放”了。在“改革”、“革命”、“开放”中，我们焦虑着、迷茫着、不安着、挣扎着……而感到惑一堆。有如伟衡作品里那哀婉、消极、空旷的调子一样，让人压抑不能释怀。伟衡托了“改革开放”的福，得以有了西学的可能。回归传统，不管东的还是西的。叙写上下文关系。在我看来，伟衡走了一条羊肠小道，而非大道。暮色已近，哀婉、空旷的调子中，我看到他在路上跋涉的背影。让我目送他，并且由衷的为他祈祷……
        当我们被意义及作用甚至更为吓人的创造一说所折磨的时候，伟衡在他那孤寂的情感世界里找寻着。用着更为古老的方式、方法，表达着他对事物的认识。有人说过，一个人和他的民族、时代背景是一体的，只要完整地表达好自己的真实内心，就什么都有了。我也认同此一说法。这，也是我对伟衡的期待。
         在此,我也向林松先生多年来为青年艺术家的成长所做的不懈努力表示敬意!

                                                                                   
The Way of Art of a Soul Exerciser
Qing Yue   2010.12.10 BeiJing

Peng Weiheng is my buddy, and it is said the Hakka dishes he makes are very delicious, but I haven’t chance to taste, but I have tasted a lot of his spiritual products.

His personal art show is about to be held and he hoped me to write an essay for him – that embarrasses me really. I cant speak even an entire sentence at mean time, but I can write something now, please excuse me. I hope the readers can enjoy themselves. I was acquainted with him ten years ago and he looked like a young fellow then. Now he looks like nearly an old man after being tortured by life. During the ten years, he was tortured and thoroughly remolded himself by his life.

Come straight to the points! In terms of his exploration direction, he discarded the bizarre and motley world and entered his inward and the origin of painting; just like the modeling method of the painters before the 16th and 17th century, the painters at that time described the myth, but he described himself. In my opinion, the figures he painted don’t have the differentiation of male and female, all of them can be regarded as the conversion of his feeling and thought. The image and motion of the people in the paintings are the externalization of his inward world and they are presented in a romantic way. Weiheng is a man of autophilia, he is fascinated in his artwork and the pleasant sensation brought to him by the integration of tiny things. When I make definition here, I have something to compare. His modeling method is based on the tradition, but also deviates from the objective logic and goes beyond the limit of reality; it doesn’t intend to escape the reality world, but to grasp it in a better way with romance. The traditional methods are obvious, comparative and definite, and the colors are clear. But his paintings have oblique and tedious – just like in the smog. We can feel the depressive feeling in the tendering and weakening figures. He abandoned the clear and obvious traditional comparison method in the description and uses the gradually strong but restrained method to describe continually. He paints unruffled and shows more and more strength and taste in the weakness. When the final climax comes near in the gradually strong description, it will show the weight of life and the hollowness of fortune.

When I said this, I can’t help to imagine how did his aesthetics come into being… I don’t recognize his childhood, for the childhood of an artist is very important to his art and aesthetics orientation in the future. His paintings make me think of Caravaggio – the classic painters. Maybe the reader will laugh – what are you saying? No – there is a world of difference between them. Caravaggio uses the gloomy hues to compare with and set off the matters and he endows the paintings with dramaticism and mysterious feelings. While, Weiheng weakens the strong and he changes the dramaticism into romance and keeps that kinds of mystery and hollowness. The grey hue intending to be weak is governing the entire painting; in the hues just like smog, Weiheng endows various matters with life. The light used by Caravaggio is dramastic, and the colors are strong and external; the light used by Weiheng is the restrained internal demands. The color restraints and the figure modeling are just like a craftsman who is grinding a jade, it makes man tense but fondle admiringly. In terms of methodology, Weiheng uses the traditional Western modeling method; in terms of aesthetics, he selects the direct opposite way of aesthetics; in terms of vision, he doesn’t have the traditional aesthetic feeling, but the self-sufficient, free, unmaterialized and romantic feeling which can express more of his internal demands. His aesthetics is self-conscious and introspective. He inherits from the aesthetics of the Chinese agricultural civilization. For example, the feature of self-sufficient and the personal expression of the internal demands presented in the paintings of traditional scholar can be presented in his paintings – under the grey hue and in the harmonious scene, the abruption among matters are on the contrary. The abruption among the matters is conceiving more possibilities in the atmosphere of pathetic, passive and hollow hues.

Weiheng and me are about to 40 years old. An old proverb says – Life begins at forty. But we have a lot of doubts. In such an environment, Weiheng didn’t face the doubts given by the environment directly, instead he goes back to his spiritual life and present all his bitter experiences of humanity during the beauty appreciation by the aesthetics way, and show the different imagination provided by other methods.

Actually I have had few time to live with Weiheng and I didn’t obtained his feeling to the reality environment from his talking. Sure, he seems not to care about the times and the people affected by the politics. When I was facing his works, I started to feel the sensitive feelings of Weiheng and his exquisite affection. In the environment in which we are growing up, each generation of people have the circumstances of their own since “emancipation”. In such circumstances, not everyone can determine his fortune. What makes us confused is the relation of breaking and not inheritances between two generations of people – that is the relation of “revolution” and the relation of “reform”. Fortunately, we have “opened up”. We are worrying, confusing, feeling uneasy and wresting in the “reform”, ”revolution” and “opening-up”. We feel a lot of doubts, just like the pathetic, passive and hollow hue in the works of Weiheng, it makes the people depressed. Being blessed by “reforming and opening-up”, it is possible for Weiheng to learn from Western countries. No matter oriental or Western matters, he can return to the tradition and describe the context relations. In my opinions, Weiheng is walking in a very narrow path but not broad path. The dusk is about to come, and I can see his sight of back which is trekking on the way in the pathetic and hollow hue. Let me see him off and bless for him cordially…

When we were tortured by the meanings, their affects and even more fearsome creation, Weiheng is finding in his lonely feeling world. He expresses his recognition to the matters with more ancient ways. Somebody said that, a person is incorporated with his nationalities, times and background. Just expressing his really internal though integrally, he can obtain anything he wants. I also agree with this argument, and it is also my expectation to Wei Heng.

Now I will also show my respect to the hard work of Mr. Linsong for the growing-up of young artists in many years!