可藝術(shù)空間將榮幸地推出常駐威尼斯的新西蘭藝術(shù)家維羅妮卡·格林的最新個展《金致眾生》。展覽將于2016年9月30日（星期五）下午6點開幕，展期至11月6日?！督鹬卤娚纷鳛楦窳峙康氖状沃袊鴤€展，將特別呈現(xiàn)其專門為此次展覽全新創(chuàng)作的部分作品。

《金致眾生》展覽延續(xù)自格林女士去年一年來，在紐約的阿提法畫廊、新西蘭的黑星畫廊和三十樓畫廊舉辦的成功個展。她的作品目前分別被意大利、瑞士和香港畫廊代理。

維羅妮卡·格林于1984年出生于新西蘭的一個混合意大利和波蘭血統(tǒng)的家庭。她以優(yōu)異成績獲得了惠靈頓梅西大學(xué)的視覺藝術(shù)專業(yè)學(xué)位。學(xué)習(xí)期間，她在毛利當(dāng)代藝術(shù)和設(shè)計風(fēng)格上注入了極大的興趣，使其在培養(yǎng)自身創(chuàng)作實踐的道路上，映射出對于多元文化的巨大熱情。

完成學(xué)業(yè)之后，帶著探尋家族歐洲文化根源的渴求，格林女士在意大利威尼斯完成了一次藝術(shù)駐留。在那里，她汲取了意大利風(fēng)格的經(jīng)典藝術(shù)傳統(tǒng)，拓展和釋放出具有象征主義風(fēng)格的畫面中漂浮著其奇思妙想的藝術(shù)世界，并迅速在威尼斯、米蘭、佛羅倫薩和維羅納各地的展覽和藝博會中被關(guān)注，成為受歡迎的藝術(shù)家。

格林女士的作品中充分受到自然、花語學(xué)、符號學(xué)、宗教、建筑、寓言、神話和歷史等等影響，并熔合當(dāng)下社會議題的內(nèi)涵思考。通過畫布綜合材料，她的作品旨在由繪畫的途徑去傳遞自由創(chuàng)作精神的理想氣息。
 
策展人前言：金致眾生--維羅妮卡·格林維羅妮卡·格林是一位擁有意大利和波蘭血統(tǒng)的新西蘭畫家。在她的生命中，格林女士大部分時間沉浸在祖國新西蘭具有豐沛的動植物生態(tài)環(huán)境的大自然中，其余時間則生活在夢境一般的意大利威尼斯城?；谶@些天然的外界影響，我們能直接體驗到藝術(shù)家創(chuàng)作的畫面中強烈的夢境感。

此次《金致眾生》展覽中所呈現(xiàn)的作品，也標(biāo)志了一種內(nèi)在的轉(zhuǎn)向：在藝術(shù)家之前近乎一半的創(chuàng)作實踐中--畫面充滿色彩明亮的敘事性內(nèi)容，清晰描繪出一些兒童形象或者童話故事角色，和一些文字語義一起，呈現(xiàn)出抵抗或者順從的狀態(tài)；另外一半--則可以被形容為金色單元--呈現(xiàn)出她典型的夢幻般場景，并著力在這些漂浮著的世界中的抽象特質(zhì)。而那些她所熟悉的標(biāo)志性形象，則在畫面中顯著地退縮至微小的地步，讓位給風(fēng)景自身所具有的強大力量。

這些金色的繪畫作品分享了某些傳統(tǒng)中國風(fēng)景畫的特質(zhì)。畫面中的階梯區(qū)域和動植物形象分別依據(jù)自己的透視關(guān)系在畫面上匯聚漂浮，沒有運用統(tǒng)一的透視滅點來傳遞空間和距離；每一個部分都對觀看同等重要。水平線透視的消失增強了繪畫本身的視覺力，使得觀者可以跟隨著畫筆自由地向畫幅的邊緣、上方和兩側(cè)去觀看，達(dá)成和傳統(tǒng)的視覺中心區(qū)域一致的飽滿力量。整個畫布就像從視覺中心飛翔出一個觀看的世界，描述著自然和人文的雙重景觀，充滿了自由的精神。
格林女士的作品特別之處，還在與類似于通過一個鏡頭或者水晶球去觀看世界；即當(dāng)你點亮一盞燈光的時候，這個世界必將驚艷四方。在每一幅她的藝術(shù)景觀背后，都暗含著一片星光熠熠的夜色。

策展人 魏皓啟

Cospace 7:
Golden Worlds - Veronica Green
 
Cospace is very pleased to present Veronica Green’s new solo exhibition, Golden Worlds, opening at 6pm on Friday, 30 September 2016, and running until 6 November, 2016. Golden Worlds, Miss Green’s debut solo show in China, will feature a dozen new paintings completed especially for the exhibition.
 
Golden Worlds follows a year of highly successful solo exhibitions for the Venetian-based New Zealander, at Artifact Gallery, New York; and Black Asterisk Gallery and 30 Upstairs Gallery in New Zealand. Miss Green is represented by galleries in Italy, Switzerland, and Hong Kong, China.
 
Veronica Green was born in New Zealand in 1984, in a family of mixed Italian and Polish nationality. She completed a Fine Arts (Honours) Degree at Massey University in Wellington, New Zealand, where she took a particular interest in contemporary Maori art and design, reflecting the passion for cultural diversity that her own heritage has fostered.
 
After completing her studies, and with a desire to connect to her European roots, she undertook a residency in Venice, Italy, where her expanding vocabulary of symbolism and fantastical floating worlds intersected with the Italianate classical tradition, proving popular and quickly leading to representation in exhibitions and fairs in Venice, Milan, Florence, and Verona.
 
Her artwork is influenced by nature, floriography, symbology, religion, architecture, fable, myth and history, fusing these together with the politics of the present. Using mixed media on canvas, her work aims to revitalize themes relating to freedom and to transport her viewer through a painted window of liberation.

Curator’s Text:
Golden Worlds – Veronica Green.
Veronica Green is a New Zealand painter, of Polish and Italian descent, who has spent two-thirds of her life fossiking amongst the flora and fauna of her native land, and the rest living in the dream-like city of Venice. Given these influences, one cannot blame her for producing paintings that are solidly dreamlike.
 
The works in Golden Worlds present something of a turning point; approximately half sit firmly in her historic practice – brightly coloured narratives that strongly feature figures of children, fairytale characters, caught either in acts of defiance or acts of contrition. The other half – what could be described as the golden section – take her typically dreamlike landscapes and focus on the abstract quality of these floating worlds. While they feature her familiar cast of symbolic characters, their appearance is markedly reduced, focussing on the weight of the landscape itself.
   
These golden worlds share some commonalities with traditional Chinese landscape painting, the terraces and flora bustle and float, each in their own perspective, without a vanishing point to indicate space and distance, each part equally important to the eye. The absence of horizon is reinforced by the painterly drips at the margins, moving upwards, sideways, as equally as downwards. One is free to project through the canvas, as if flying towards the centre.
 
The effect is akin to viewing worlds through a lens, or crystal ball, which is inflamed further when one turns out the lights. Behind each world is yet another, a night-time world of surprises, full of stars.
 
Curator, Hutch E Wilco.