水墨軒窗:劉強(qiáng)藝術(shù)作品展

展期|2025/06/12—2025/06/19

藝術(shù)家|劉強(qiáng)

開幕時(shí)間|2025/06/12 ?9:50

地點(diǎn)|江蘇師范大學(xué)美術(shù)館

在水墨中尋找精神的原鄉(xiāng)

窗，我常靜立于此，看窗外草木隨四季更迭，花葉舒展或蜷曲的姿態(tài)，總在俯仰之間泄露著自然的秘語(yǔ)。這些被時(shí)光浸潤(rùn)的日常風(fēng)景，最終都化作了畫紙上的墨痕——它們是我與世界對(duì)話的方式，亦是叩問內(nèi)心的路徑。

我的創(chuàng)作始終游走在傳統(tǒng)水墨的氤氳與當(dāng)代藝術(shù)的肌理之間。偏愛以疊墨構(gòu)筑畫面，在層層積染中注入灰調(diào)的呼吸感。黑與灰的碰撞，恰似靈魂的雙重鏡像：重墨是凝視現(xiàn)實(shí)的沉重，灰調(diào)是懸浮于世俗之上的精神留白。當(dāng)筆鋒掠過紙面，墨色在水的暈染中自然裂變，如同日常生活里那些未被言說的情緒，在靜默中生長(zhǎng)出萬(wàn)千姿態(tài)。

花之景，或是蜷縮成一團(tuán)沉默的陰影，或是在灰調(diào)的背景中舒展成尖銳的棱角，這些傳統(tǒng)文人畫中的經(jīng)典意象，在當(dāng)代語(yǔ)境下被解構(gòu)、重組，成為承載個(gè)體經(jīng)驗(yàn)的符號(hào)，讓每一道墨痕都成為記憶的切片——那些被城市化進(jìn)程碾碎的自然詩(shī)意，那些在物質(zhì)浪潮中失重的精神原鄉(xiāng)，都在這黑與灰的交響中獲得了新的形態(tài)。

窗，是連接內(nèi)外的介質(zhì)，也是我創(chuàng)作的原初視角。每日透過窗觀察外界，發(fā)現(xiàn)風(fēng)景早已不是單純的視覺景觀，而是被認(rèn)知、記憶與情感濾鏡重構(gòu)的“心理風(fēng)景”。當(dāng)我將窗外之景轉(zhuǎn)化為畫紙上的圖像時(shí)，實(shí)則是在完成一場(chǎng)從“觀看”到“凝視”的蛻變：葉片的脈絡(luò)成為神經(jīng)的延伸，花瓣的開合暗合著呼吸的節(jié)奏，花之景便是我內(nèi)心之境的投射。在當(dāng)代社會(huì)的物化浪潮中，人的精神困境讓我筆下的景常常呈現(xiàn)出一種矛盾的姿態(tài)：既有著對(duì)世俗美好的眷戀，又暗含著對(duì)精神超越的渴望。這種二元性，正是現(xiàn)代人在物質(zhì)與精神、現(xiàn)實(shí)與理想之間掙扎的隱喻。

藝術(shù)創(chuàng)作于我而言，是一場(chǎng)持續(xù)的自我對(duì)話，也是對(duì)時(shí)代精神困境的溫柔抵抗。越來越多的人在快節(jié)奏的生活中迷失方向，我愿在黑與灰的幽冥之境中探尋精神的原鄉(xiāng)。那些看似冷寂的畫面，實(shí)則涌動(dòng)著生命的熱流：每一片枯葉都在訴說凋零的詩(shī)意，每一朵殘花都在見證綻放的余溫，而彌漫于畫面中的灰與黑，恰如籠罩在現(xiàn)代人頭頂?shù)拿造F——我們?cè)谄渲忻鳌⒗Щ螅瑓s從未停止尋找光的方向。

木白

2025年夏于墨痕齋

春枝韻晚 69x69cm 水墨紙本 2019年

翠色弄香 69x69cm 水墨紙本 2019年

殘花凋盡化作雨 69x68.5cm 水墨紙本 2021年

Finding the Spiritual Homeland in Ink and Wash

By the window, I often stand quietly, watching the plants outside change with the seasons. The way the leaves stretch or curl always reveals nature's secrets in their upward and downward gestures. These daily landscapes soaked in time eventually transform into ink marks on rice paper—they are my way of conversing with the world and a path to questioning my inner self.

My creation has always wandered between the misty charm of traditional ink painting and the texture of contemporary art. I prefer to build compositions with layered ink, infusing a sense of breath into gray tones through successive washes. The collision of black and gray is like a dual mirror of the soul: the heavy ink represents the weight of gazing at reality, while the gray tones are the spiritual blank spaces floating above the mundane. When the brush tip glides across the paper, the ink naturally splits and diffuses in water, much like the unspoken emotions in daily life that grow into countless forms in silence.

Scenes of flowers may curl into silent shadows or stretch into sharp edges against a gray background. These classic images from traditional literati paintings are deconstructed and reconstructed in a contemporary context, becoming symbols carrying individual experiences. Each ink mark thus becomes a slice of memory—those natural poetic sentiments crushed by urbanization, and those spiritual homelands losing weight in the material wave, all gain new forms in this symphony of black and gray.

The window is a medium connecting the inside and outside, and it is also the original perspective of my creation. Observing the outside world through the window every day, I realize that scenery is no longer a mere visual landscape but a "psychological landscape" reconstructed by filters of cognition, memory, and emotion. When I transform the scenery outside the window into images on paper, I am actually completing a transformation from "looking" to "gazing": the veins of leaves become extensions of nerves, the opening and closing of petals echo the rhythm of breathing, and flower scenes are projections of my inner state. In the materialistic tide of contemporary society, the spiritual predicament of people often makes the scenes in my works exhibit a contradictory posture: both attached to secular beauty and implicitly containing a longing for spiritual transcendence. This duality is a metaphor for modern people's struggle between material and spirit, reality and ideal.

Art creation is a continuous self-dialogue for me and a gentle resistance to the spiritual dilemmas of the times. As more and more people lose their way in the fast-paced life, I wish to explore the spiritual homeland in the dim realm of black and gray. Those seemingly cold and silent compositions actually surge with the heat of life: every withered leaf tells the poetry of withering, every faded flower witnesses the lingering warmth of blooming, and the gray and black pervading the paintings are like the mist hanging over modern people—we grope and puzzle within it, yet never stop seeking the direction of light.

Mu Bai

Summer 2025 at Mohen Studio

花枝陰陰細(xì)雨晴 69x68.5cm 水墨紙本 2021年

寂寞風(fēng)吹映殘陽(yáng) 69x69cm 水墨紙本 2021年

葉瘦花殘雨過 69x69cm 水墨紙本 2019年

劉強(qiáng) Liu Qiang

劉強(qiáng)，江蘇沛縣人，畢業(yè)于南京師范大學(xué)美術(shù)學(xué)院、獲藝術(shù)碩士學(xué)位，中國(guó)民主同盟盟員，徐州高等師范學(xué)校美術(shù)系主任、教授、國(guó)家一級(jí)美術(shù)師，江蘇省美術(shù)家協(xié)會(huì)會(huì)員。

Liu Qiang, a native of Pei County, Jiangsu Province, graduated from the Academy of Fine Arts of Nanjing Normal University with a Master of Arts degree. He is a member of the China Democratic League, Director and Professor of the Fine Arts Department at Xuzhou Higher Normal School, a National First-Class Artist, and a member of the Jiangsu Artists Association.