本次展覽將展出藝術家張然在近年內(nèi)創(chuàng)作的油畫和素描繪畫作品，意在呈現(xiàn)她通過對于身份轉變的思考、對于角色適應過程中的階段性審視來探尋自我的處境與定位。張然的藝術實踐基于她對生活有意識的覺察，同時生活也在塑造她的創(chuàng)作方式，進而演化為個人藝術語言的蛻變。

The exhibition comprises oil paintings and sketches by Zhang Ran over the past few years, aiming to present the conditions and realities of the self through her reflection about the changes in her role and the phased examination while adapting to the altered role. Zhang Ran’s art comes from her observation of life, and life in its turn also shapes her way of doing art, leading to the transformation in his aesthetic practice.

“描摹”意為對特定的形象進行如實地摹寫，又如柏拉圖所說畫家的摹仿是“影子的影子”。在真實與畫面之間，由于藝術家的轉化所構成的差異性即隱藏著造物者自身的感性張力。“練習”的復數(shù)性與過程性，意味著藝術家在實踐中不斷折返于真實與畫面之間的行為與心理軌跡。

Representation means faithful rendering of given images, “shadow of the shadow”, in Plato’s words. Between reality and painting, the differences derived from the shift in the artist’s practice is actually an implication of the sentimental intensity on the part of the creator. “Practice”, plural and procedural, can also refer to the behavioral process an artist goes through between reality and painting, along with his psychological trajectory.

即將在展覽中展出的自畫像系列作品可被視為藝術家對于架上繪畫的一次實踐，雖然畢業(yè)于魯迅美術學院油畫系，但張然的前期創(chuàng)作媒介并非僅圍繞繪畫為中心展開，而是融合了裝置、文本等多種綜合性材料。由于經(jīng)歷女性生命角色轉變所引發(fā)的感知方式和思維模式的改變，使藝術家逐漸摒棄了架上媒介的負擔性，繼而運用嫻熟的繪畫手法將時間性的沉淀巧妙而通順的呈現(xiàn)在畫面上，并以自畫像為題材實現(xiàn)了自我狀態(tài)與面貌的雙重再現(xiàn)。

The self-portraits at the exhibition highlight the practice the artist made in easel painting. Though graduated from the Oil Painting Department of Luxun Academy of Fine Arts, she did not focus her early works on painting but chose mixed media like installation and text. Changes in her role as a women led to shift in her perception and thinking, thus releasing her from the burden of the easel and inspiring her to transfer in a skilful and natural way the passage of time onto the canvas. These self-portraits therefore become the dual representation of her state of mind and her image then.

此外，在被藝術家戲謔稱為“婦女畫派”的靜物系列作品中，張然用精致的、細膩的筆觸描繪了生活化的場景，凸顯出視覺效果與圖像素材構成的反差性，也印證著她在家庭生活與藝術實踐中不同角色之間的轉換。人像系列通過記錄對身邊朋友和家人的觀察，影射出藝術家自身在“大他者”凝視下試圖突破桎梏的狀態(tài)。畫面中的人物被定格在一種靜謐、不安的氛圍的籠罩之中，看似具象寫實的繪畫，卻游離于失真的邊緣。三個系列的繪畫作品共同展示了藝術家以自我剖析的方式，將向內(nèi)關注的情感體驗流露出來。

Besides, we see delicate and fine treatment of everyday life scenes in the still life series dubbed “women’s school”, giving prominence to the contrast between the visual effect and the image material, echoing the changes in her role in family life and in art practice. These portraits, though observation of her friends and his family, mirror herself as an artist in an attempt to free herself from the constraints. With figures in a tranquil but disquieting atmosphere, these paintings seem to be figurative and true-to-life but in fact drift toward distortion. The three series work to present an artist who reveals her inner world by means of self analysis.

關于藝術家

張然
1980年 生于遼寧撫順
2005年 畢業(yè)于魯迅美術學院油畫系
現(xiàn)工作生活于遼寧沈陽

展覽經(jīng)歷：
制性造別，泰康空間，北京，2018
青策計劃 2017 甜蜜的家，PSA 上海當代藝術博物館，上海，2017
shift 0 號展覽+事件，走調(diào)空間，沈陽，2017
進行日項目一、二，失敗書店，沈陽，2016
馬耳山藝術計劃及文獻展，沈陽，2015
叢林 II — 彌漫的形態(tài)，站臺中國，北京，2013
十年，魯迅美術學院美術館，沈陽，2009

關于七木空間：

七木空間力求呈現(xiàn)藝術家及其作品在當今中國社會下的活躍的思想及鮮活生命力，擅于同藝術家就視覺藝術的多種可能進行探討與實踐，支持藝術家針對不同“空間”的分析與實驗，并致力于扶持藝術家在社會與自然空間內(nèi)進行視覺研究與創(chuàng)造。

七木空間對展覽項目持公共開放的態(tài)度，接受來自藝術家、策展人以及各類研究機構的展覽項目提案。自2016年11月開幕以來的展覽中，呈現(xiàn)了藝術家、策展人和建筑團隊的空間特別定制作品。

在完成了七木空間位于宋莊藝術區(qū)空間的第一階段工作實踐后，于2022年盛夏開啟其位于751藝術區(qū)的新空間，力求扶持推廣青年藝術家，并將持續(xù)致力于實踐當代藝術在多領域的融合發(fā)展可能性。