第零·预告｜“盆中之物-王洋个展”即将开展

According to Erwin Panofsky's theory of iconography, when exploring the meaning of a work, we should first capture the recognizable symbols on the work, and then pursue the hidden meaning behind the symbols. That is, usually first of all, it only focuses on the surface image, only the formal analysis, and discusses the vision of the image to be studied according to the work itself. Secondly, it will judge the image as a known story or role, and enter the story role for analysis and interpretation. Finally, when analyzing works of art, we will explain the hidden meaning inside the image more deeply. For example, many images do not directly express the information hidden in them, but rely on some images to reflect the refracted information.

Wang Yang's paintings use a certain representative and profound image language, take a more concrete and realistic artistic technique as the form of expression, coupled with specific "symbolic" elements, express some unique feelings of himself, and integrate into a memorable era. "Things in the basin" is not only Wang Yang's feeling of things themselves, but also his daily life. It is also a reflection of the realistic consumerism in the fragmented era, but also a reflection of history and the remembrance and admiration of the past years. Each picture is composed in the shape of a round basin, which not only contains the doll image of children, but also some interesting items in daily life. It pursues a kind of independence from the world, an innocent state of mind and a tough character.

Wang Yang envies the innocence of such children and the simple happiness they can get, and constantly revisits the memories of childhood in his heart. The doll itself is a special toy for children to comfort and play. The image language of doll is used to express the understanding and perception of socialist feelings. The audience may also see the logo with mosaic and QR code from time to time, which has to arouse the viewer's further thinking and search. Despite the visual impact, Wang Yang's repeated emphasis brings the audience one question after another. We are also impressed by the artist's ability to materialize his mind when dealing with images and reality, as well as his ability to communicate deeply with the audience.

In general, Wang Yang used words as a medium to establish a psychological communication bridge with the audience, expressing a unique feeling of "unspeakable". Witnessing the noise of the secular world, he calmly stayed away and pursued the childlike simplicity and loveliness, rebirth and hope behind the doll.

与其说王洋为我们搭建了一个具象的视觉效果，毋宁说他为自己虚构了一个（或曾经的）理想生活夙愿。生活本身或许就是一个寓言，真实又荒诞，美丽又残酷。王洋的画，借用写实的表现手法加上卡通形象，与传统绘画力在表达现实对象的“真实”不同，经语言的转化，自然地成了一个具有多重所指的暗喻。画中的“玩偶”不再是玩偶，“卡通”亦不再是卡通，“盆中之物”也不再是事物本身……原初意义上的玩偶没有时代，没有身份，它们被赋予了某种角色，似乎与“不被尘世沾染的遗世独立”与天真无邪的心态有所牵连。

如何做个有趣的人？如何能像孩童般可爱与单纯？放慢脚步，去看一看他笔下的“世界”。或许，你也能和我一样，找到他“盆中之物”的“慢著火，少著水，火候足时他自美” 的快乐人间烟火。      

—— 策展人  盛婉婉

Rather than building a concrete visual effect for us, Wang Yang invented a (or once) long cherished dream of ideal life for himself. Life itself may be a fable, real and absurd, beautiful and cruel. Wang Yang's paintings, using realistic expression techniques and cartoon images, are different from the "reality" of traditional painting in expressing real objects. Through the transformation of language, they naturally become a metaphor with multiple references. The "doll" in the painting is no longer a doll, "cartoon" is no longer a cartoon, and the "thing in the basin" is no longer the thing itself... The dolls in the original sense have no era and no identity. They are given a certain role, which seems to be involved in the "independence from the world" and the innocent mentality.