人際的自由

物我的同歸

生活與藝術(shù)的遭遇

民族文化的達(dá)成

都需要我們將自我從復(fù)刻的物消費(fèi)狀態(tài)中拖出

物的不同肌理便是不同的藝術(shù)靈魂

         2017年10月10日晚7點(diǎn)30分《沉重之羽》趙培生&阿曼達(dá)藝術(shù)雙個(gè)展在許燎源現(xiàn)代設(shè)計(jì)藝術(shù)博物館舉行了開幕儀式。

到場嘉賓如下：

澳大利亞駐成都領(lǐng)事館Consul Gaile Barnes 白鴿領(lǐng)事

洛澤森領(lǐng)事

中國澳大利亞商會- 華西辦事處，執(zhí)行經(jīng)理費(fèi)邁克先生及他的兩位朋友。

Joanna Bunting 喬安娜·邦廷女士

Brodie Buvns-williamson 布羅迪—伯恩斯—威廉姆斯先生

北京中國戲曲學(xué)院教授周曉亞先生

四川省雕塑家學(xué)會會長、藝術(shù)家鄧樂先生

山東煙臺天成裝飾公司董事長牛玉堂先生

景德鎮(zhèn)陶瓷大學(xué)教授吳冷杰先生

上海邑通道具股份有限公司，成都億林家具有限公司總經(jīng)理王擎先生

成都城市名人酒店總經(jīng)理陳錦康先生

     趙培生先生是中國當(dāng)代藝術(shù)家，擅長繪畫與陶藝。“棄形存意、形破無常”是他的創(chuàng)作手段，對生命的關(guān)懷、對社會的關(guān)注是他創(chuàng)作的核心。在他的創(chuàng)作過程中，試圖找到“精彩點(diǎn)”，即創(chuàng)作行為的某個(gè)靜止點(diǎn)，用以清晰地闡明他作品中的自然轉(zhuǎn)化之精華所在。根據(jù)他的說法，這不僅僅是個(gè)想法，還要求這個(gè)點(diǎn)真實(shí)存在于創(chuàng)造過程中。這個(gè)過程會痛苦，同時(shí)又渴望著出現(xiàn)意外驚喜的那種快樂。

《飲露》

世間平淡

秋日漸深

雖寒氣已濃

但

人歡喜

《蝕》

物雖滄桑

顯其百崆

卻

抵不住心底繾綣的暖意

《風(fēng)蕭蕭兮》

聞其名

謀其面

雖遐思萬千

然

快樂得意

          阿曼達(dá)女士熱烈的歡迎和感謝每一位到場的嘉賓。首先，她要感謝許燎源先生與張群英女士的熱情款待。這間充滿藝術(shù)氣息的博物館和成都最棒的美食讓她非常難忘。她非常感激許先生建造這所美麗的博物館。同時(shí)，她也感激許燎源先生驚人的藝術(shù)天賦。她認(rèn)為許先生是一位無所畏懼的藝術(shù)家，這也是他值得被大家欣賞的一點(diǎn)。其次，她非常感謝許先生、張女士以及他們的團(tuán)隊(duì)對這次畫展的大力支持與幫助。她還要感謝她的朋友趙培生教授。感謝他們倆的友誼、感謝他介紹他的作品、以及邀請阿曼達(dá)與他一同創(chuàng)辦這個(gè)展覽，這讓他們今晚齊聚一堂。

         趙教授的藝術(shù)啟發(fā)了阿曼達(dá)，讓她去嘗試發(fā)現(xiàn)一些隱藏的東西。去更深層次的挖掘?yàn)槭裁粗袊讼矚g巖石以及為什么他們關(guān)注巖石表面。她通過理解與趙教授的藝術(shù)作品相關(guān)的文化層面，使她感到受益匪淺。2009年她第一次與趙教授相識便被他的工作深深吸引。趙教授的個(gè)人抽象陶瓷雕塑是非常重要的原因之一。她非常欣賞趙教授工作的態(tài)度，并且喜歡他作品和諧緊密的尺度，美麗的表面質(zhì)感，他們是生動活潑的，但仍然是樸實(shí)的。減少了多余的顏色與繁雜的情緒, 仍然表現(xiàn)了一個(gè)藝術(shù)家最重要的特質(zhì)…并且也反映了作為一個(gè)藝術(shù)家他的理想和目的。

        他的作品暗示了太湖巖石的已知特質(zhì)，但卻并不是作為代表，而是讓我們重新思考它們的含義，讓我們注意到它們是什么，而不是它們代表什么

        阿曼達(dá)的這些新作品的起點(diǎn)靈感來自于參觀江蘇周邊美麗的中國園林。花園是思想和物體結(jié)合的地方，使它們形成聯(lián)系。在這項(xiàng)工作中，她試圖獲得更深層次的文化理解，并考慮我們所看到的世界的文化框架。并表達(dá)她對如何融入自然世界的感受。像地形景觀、微觀世界和宏觀世界,她試圖考慮能量的模式運(yùn)行和工作規(guī)模,我的版畫作品就使用大理石粉制作，,通過很緩慢滴墨水,完成最后的作品。她還想做一系列的組合作品，為我們?nèi)绾慰创澜缣峁┒喾N視角和觀點(diǎn)。她要感謝在此的澳洲領(lǐng)事館的朋友。還要感謝珀斯和成都之間5年的友好城市關(guān)系。并且感謝她的丈夫史蒂夫在成都的陪伴與支持。

         I welcome everybody here tonight ! Thank-you everybody for coming!

         I would like to firstly thank Xu Liaoyuan and Zhang Qunying for makingus so welcome in Chengduwith their generous hospitality! Since we arrived, we have been in greatcompany, and surrounded by art, - and have been introduced to the best of Chengdu cuisine! Xu, I have really appreciated this beautiful architectural space thatyou have created in the XLY MoMA, I have also appreciated your incredibletalent and artworks. I think you are a fearless artist and this is something tobe admired!

         Xu and Zhang, thank you very much for hosting this exhibition and to theteam of wonderful people who have been helping install the exhibition and havespent many hours negotiating a few difficulties along the way. Xiao Ya,Ivy  and Edmund.

         I would like to thank my friend Professor Zhao Peisheng for many things,his friendship; for introducing me to his work; and for his invitation toexhibit our works together - which brings us here tonight.Through Zhao’s art he has provoked me to try to uncover somethinghidden, firstly to dig deeper into why the Chinese love rocks, and why theattention to surface is important. The layers of cultural meaning that areassociated with these things has greatly enriched me! Thank-you!Zhao’s work has greatly intrigued me since we first met in 2009.Zhao’s ownabstract sculptured ceramics are vital objects. I love their intimate scale,luscious surface texture, they are lively, yet still! They are unadorned – havereduced colour – reduced emotion, they distill the essential qualities…thistype of work invokes associations with the artists philosophy and intent.His workssuggest the known qualities of Taihu rock but don’t represent, they insteadallow us to think of their meanings anew, skewing us sideways from thewell-known forms of scholar rocks to bring our attention to what they are, notwhat they represent.My starting point for these newworks is inspired from many visits to the beautiful Chinese gardens around Jiangsu. Thegardens are a locus where ideas and objects coalesce, form connections andrelatedness. In this work I have attempted to gain a deeper culturalunderstanding and to consider the cultural framing through which we see theworld. And to give expression to my feelings about how I engage with thenatural world.

         I wanted tomake a series of assemblages that would offer multiple perspectives and viewpoints of how we see the world.

         Such as in the topographyof the landscape, the micro world and the macro world, and I tried to considerthe patterns of energy that run through all matter as I was making the workthrough attention to scale, my printing plates made of marble dust, and throughthe slow dripping of ink that created the forms.

         It isimpossible not to consider the cultural dimension to my work – I see the fiveworks I firstly made after Gao Yang (old master who produced paintings for theten bamboo studio manual – ???裾鮟?譜) as beingtranslations. I have translated five works with consideration to trying to understandthe qualities inherent in chinese rocks Shou, zhou lou,tou, ….that are on display. The other works followed – attempting to findexpression in the inner world of forms.I hope you can appreciate my works.Alongside Professor Zhao’s works, they have the best context I couldimagine! Once again I would like to welcome everybody tonight!Thanks to the friends from the Australian Consulate in Chengdu who are heretonight.Consul Gail Barnes，Consul Mathew Robertson，Brodie  Burnes-williamson，Michael Feakes from Austcham.

          I would alsolike to Acknowledge the sister city relationship of 5 years between Perth and Chengdu- aiming to enhance trade and cultural relationships.

          For your support along the way – thankyou!

         The Confucius institute in Perthwho keep me engaged with many cultural activities.

         And my husband Stephen for his support in being here in Chengdu with me.

《退思Retreat》

《顛顛Glad an》

《清凈Poise》

          四川省雕塑家學(xué)會會長鄧樂先生對此次展覽給予了高度的評價(jià)，希望中澳兩國藝術(shù)家能有更深層次的交流，并對阿曼達(dá)女士提出了對空間藝術(shù)共同探討的邀請。

         許燎源老師為本次展覽致辭，提到了藝術(shù)的表現(xiàn)形式并不拒絕平凡人的生活本身。他認(rèn)為藝術(shù)是審美的心得、藝術(shù)是生活的必須、藝術(shù)是衡量人生活的尺度。藝術(shù)可以不張揚(yáng)，但不代表不豐碩。可以不噱頭，但不代表不逍遙。藝術(shù)本該徜徉于人與萬物的和諧之中。

開幕式現(xiàn)場

意態(tài)欣喜

深思凝視

駐足賞析

◆展覽名稱：沉重之羽

◆展覽時(shí)間：2017.10.10~2017.10.30

◆開幕時(shí)間：2017.10.10  19:30

◆策展人：張群英

◆主辦單位:

 許燎源現(xiàn)代設(shè)計(jì)藝術(shù)博物館

◆協(xié)辦單位：

上海理工大學(xué)

成都市對外文化交流協(xié)會

澳大利亞珀斯埃迪斯科文大學(xué)

◆指導(dǎo)支持:

成都市錦江區(qū)文體廣新旅游局

◆支持單位:

邑畫廊

崇真藝客

卓克藝術(shù)網(wǎng)

雅昌藝術(shù)網(wǎng)

中國上海陶瓷藝術(shù)家協(xié)會

蘇州榬木堂古典家具有限公司

◆媒體支持：

卓克藝術(shù)網(wǎng)、崇真藝客、四川藝術(shù)網(wǎng)、

今日頭條、藝術(shù)狗、雅昌藝術(shù)網(wǎng)、四川美術(shù)網(wǎng)