黄 莺

生于湖南  现居北京  职业艺术家
曾先后就读于北京电影学院图片摄影专业和中央美术学院油画系

个展：

2006  “绽放”，酒厂•国际艺术园 北京

群展：

2008  巴塞尔－迈阿密艺术博览会 美国
2008  2008奥林匹克美术大会  北京
2008   “中国情境”当代艺术展 北京
2008   2007•中国当代艺术文献展主题展  雍和美术馆 北京
2007   艳色记录——当代女性艺术家邀请展   关山月美术馆 深圳
2007   历史：记忆与再记忆  墙美术馆 北京
2006   2006•中国当代艺术文献展  中华世纪坛  北京
2006   变异的图像---中国当代油画邀请展   上海美术馆 上海
2005   “我行我素-中国油画新兴力量2005年展”   广州国际艺术博览会 广州
2005   北京世纪翰墨画廊藏品展 北京798
2004   “个性空间”上海春季艺术沙龙 上海

公共收藏：

关山月美术馆
南京青和当代美术馆
奥林匹克艺术中心

Huang Ying

Born in Hunan,Living in Beijing now
Studied in Photographic Dept.,Beijing Film Academy and
in Oil Painting Dept.,Central Academy of Fine Arts, Beijing

Exhibition:
2009    Art Basel Maimi Beach 2008, USA
2008    Olympic Fine Arts 2008, Beijing
2008    “Chinese Situation" contemporary art exhibition, Beijing
2008    2007 • The Documental Exhibition of China’s Comtemproary Art, Beijing
2007    Rich Colors, Invitation Exhibition of China's Comtempoary Female Artist,
GuanShanYue Art Museum, Shenzhen
2007    History : Memory and Re-memory  Wall Art Gallery ,    Beijing
2006    “Blooming”,  Huang Ying 's  Exhibition，Liquor  Factory International Art
Complex,  Beijing
2006    2006 • The Documental Exhibition of China’s Comtemproary Art, Beijing
2006    Varied Image---Invitation Exhibition of China’s Comtemporary Paintings,
Shanghai Art Museum, Shanghai
2005    " My Own Way-The New Power of Chinese Oilpainting ", Guangzhou Art Fair, Guangzhou
2005    The Collection Exhibition of Beijing Century Hanmo Gallery, 798 Beijing
2004    "Individual Space", 2nd Shanghai Spring Art Salon, Shanghai

Collection:
GuanShanYue Art Museum, Shenzhen
Nanjing Qinghe Current Art Center
The Olympic Art Center

常态之外的优美——黄莺的艺术之我见

邹跃进

从女性艺术家黄莺的艺术中，我发现她是那种把艺术观、审美理想与日常生活的态度两个方面结合得非常好的艺术家，也是那种能够把性别体验和艺术表达方式给予完美结合的女性艺术家。当然，我的这种判断首先来自我对黄莺本人的熟悉和了解，但更为重要的是黄莺本人身体力行的艺术实践与生活方式的合而为一。

就艺术观、审美理想与日常生活态度的合一而言,黄莺通过艺术，使日常生活中的优美和雅致不仅在她的作品中向前延伸，而且也使其升华和变异，我把黄莺作品中的这种艺术现象,理解为一种非常态的，或者常态之外的优美和雅致的艺术形态和趣味。关于这一艺术特征，我们可以在黄莺作品中那些人物，即黄莺本人的非常态姿势、非常态的目光，以及作品中那些非常态的花朵、非常态的空间透视和非常态的人与花的组合中感受到；然而我们同时还能感受到的是渗透、弥漫在其中的优美和雅致。实际上，从理论的角度看,优美、雅致和非常态是矛盾和对抗的,这是因为不管是生活的态度还是艺术的风格形态，优美的美学特点正在于它符合人性的常态需求，也来自常态的事物和对象；而在美学家看来，优美只能在物我交融的和谐状态中产生，而其对象或形态，则具有非常确定的形式特征和相应的语言方式,如美学家博克所说的小,光滑，荷加斯所说的曲线或蛇形线,古希腊时期发现的黄金分割比例等。就此而言，黄莺在常态之外发现和创造优美的艺术形态,我们不能不说她具有一种独特的艺术感受力和创新的艺术能力。

黄莺在艺术创造中把自己想象为非常态的黄莺，让她处在异样的视野之中，并在其中发现、坚守、延伸和创造优美的艺术形式和形象。如果我们从艺术史的角度来看待黄莺的这一艺术特征，可以说她是在这一最深厚的艺术传统之外，为它增加了一种新的风格，从而使优美的美学形态变得更为多样和丰富。

在我看来，黄莺之所以能在艺术中创造非常态的优美，与她作为女性的性别身份有关系，那也就是说优美作为她的一种生活态度和生活方式，同样具有常态和非常态的差异，从另一个角度看，这种差异也是公共生活与私密生活的区别。我们当然无法知道黄莺在独处的私密空间中的所想和所为，但我们能从黄莺在作品中的自我呈现，理解她对非常态的自我的想象，其实正是这种想象，使她成为一个把性别体验和艺术表达方式给予完美结合的女性艺术家。因为在这种独特的艺术想象和表达中，我们看到非常态的黄莺对常态的黄莺的逃离和认同的矛盾，感受到一个成熟女性对公共生活状态中的自我的反叛和皈依的两难。从这个意义上说，黄莺艺术中的非常态的自我和非常态的优美,不仅把性别的体验与艺术的创新给予了很好结合,而且也表现了一个特定年龄阶段的女性对身处男权世界之中的自我的理解和想象。

2006/9/19于望京花园

An art of grace beyond the extraordinariness

Zou Yuejin

On the matter of art views, aesthetic ideals and the daily life attitude, Huang Ying not only extends her daily life grace and refine in her works, but also makes them transfigured and varied. This art phenomenon can be understood as an extraordinary art form and taste, or a grace and refine beyond an ordinary meaning. As to her art features,we can sense them from the figures in her works ,that is, Huang Ying’s own extraordinary gestures, her extraordinary eyesight and the extraordinary flowers, space perpectives and the extraordinary combination of human and flower. And at the same time we can still sense a sense of penetration and the grace and refine in it. Theoretically, grace and refine is contraditory and conflicting to an extraordinariness, while Huang Ying would have discovered and made an art of grace beyond this extraordinariness. And we have to say that she is donated with a unique art affection and an innovation capability. From a viewpoint of art history, she can be said to have added another new style to the art tradition so that the grace aesthetics is made more multiplied and enriched in their forms. (Zou Yuejin)

落下，倚隈或漂流--黄莺的绘画

文：方振宁

其实黄莺的画不用我来写，因为文字有它的局限，让文字去描绘光、旋律、色彩和声音显然是徒劳的，那为什么人们又期待出现关于绘画批评的文字？我知道，那是期待从理论上阐述绘画的深刻和归属。而我，却恰恰做不到这一点。

那么我要写什么呢？我要写的是，我在阅读黄莺的画之后的感受，和她延伸到画外的意境.简单地说，就是怎样把一些具体的形象组合在一起：无论是人物，还是花卉，或者是海，或者是好像是在无重力的空中飘浮的水。当然，这种组合不是在画静物画之前摆放一组静物，而是经过链接之后达到诗意。

黄莺的工作室在京城北部刚刚形成的酒场艺术区内，那里是和北京的798艺术区一样，是新锐艺术家们扎堆的地方。黄莺租下了一个若大的厂房空间，经过她自己的设计，空间保留了原来作为工业空间的震撼。

所谓工业空间就是要比人们生活的空间尺度大得多，凡是将这种空间改造成画廊或者是工作室的情况，大都是隔层或者隔断，谁都想更经济地使用空间，然而黄莺却不是。她最小限地进行改造，最大限地保留原始空间，但是她留下了灰白色斑迹，在这个几乎空旷的空间中，最灿烂的东西，则是她那些描绘着绽放的花，蔚蓝色夜空中落下的玫瑰色裸女，戴着面具相互倚隈的蓝色身体，在巨大的玫瑰色的花蕊中川流的少女……

黄莺的笔下，无论是人体还是花卉，都没有那种奇怪的变形，但又不是写实的描绘，而是经过精心提炼之后，把它归纳和放大之后的象征性造型。所谓象征性，就是通过具体的形象经过渲染的氛围，向更为深远的世界托思传情。

阳光透过西侧的高窗漫射进她的画室，从二层楼高的位置垂下来的帷幕，隔开了她的休闲和工作空间。黄莺的大幅作品的尺度和这个空间的尺度形成默契。室内所有的摆设和杂物都是经过精心挑选和摆放的，你可以看到画家和它所描绘的物体之间有一种静谧的关系。

黄莺虽然从十几岁就开始画画，但是真正把绘画作为职业的她，则是从2000年开始，然而值得拿出来的作品，又只有这四年期间的成品。我们可以把黄莺的作品分为三个阶段：一是2000年之前在中央美术学院和电影学院学习时期的习作，那些绘画作品已经可以看出她在油画上的才能，那是典型的学院派风格；第二个阶段是从2003-05年之间所花的女子和蜻蜓、太阳镜、百合花以及牡丹系列，特别是那些用夸张的牡丹掩盖着面容的一组作品，是从表现绘画向象征绘画的过渡，尤其是《盛开的牡丹》是这一时期的代表作。直立在水中的裸女，脸戴牡丹，诱惑吗？然而是端庄的出色。以后进入第三阶段，这个时期就是她现在迷恋的绘画，色彩大幅度升华，所谓的升华在这里显示为单纯的色调，或蓝，或玫瑰，同时出现明显的对称构图，不只是花卉，而且人物也成双。戏剧性的画面本身带有强烈的象征色彩。

我们不可能在黄莺的作品中回避性表现的问题，那是一种潜在的本能，无论是落下的动作，还是盛开牡丹，以及那些自恋式的倚隈，都有一种强烈的生命欲望的暗示。

黄莺说她常常梦见自己有下落的感觉，好了，我以为这是唯一的真实。她的作品让我们看出她对外界没有什么兴趣，只是在非现实的空间中漂流。

这些作品都是她绘画过程中的过程，这个过程会有怎样的变化？我们无法预测，如果说，有一种可能的话，那么就是在色调和造型上更加趋于单纯，而表现生命的欲望会更为强烈。

2007.8.25

Falling, Nestling, or Floating--An Essay On Huang Ying’s Painting

By Fang Zhengning

To be honest, words have their limitation and it is futile to describe light, tune, color and sound. People expect written critique about painting because they want a theoretical interpretation to gain some insight so as to position painting historically and psychologically, which I can not accomplish here.

Then what I am trying to write here? I want to record my personal feeling towards Huang Ying’s paintings; the resonance she generate in my mood. I want to find out how she put things together——people, flower, ocean, or floating weightless water. The arrangement of objects in her painting is not the usual way you do with still life. It is a poetics with hyperlinks.

Huang Ying’s studio located in the newly formed Wine Factory Art International District in northern-Beijing, where new forces in artistic creation formed a new community similar to that in 798 Art District. Ying has a huge factory space as her studio, self-designed to reserve the awe-generating effects from the enormous space from the industrial age.

As an industrial space it is much larger than the space people encounter in daily life. Normally artists who convert this kind of space into an art studio would divide it into smaller compartments to fully utilize the space, but that’s not the case with Ying. She did minimum renovation, keeping the original feel with unidentifiable whites and grays on the wall. The most vibrating objects inside this almost barren space are her paintings of blossoming flowers, falling nudes of purple color in blue night sky, nestling lovers of blue bodies under masks, maidens floating among gigantic stamens….

There is no distortion under Ying’s brushes, no matter bodies or floral, yet she is not describing the world realistically. A process of inducing and blowing-up has completed some symbolic modeling after extracting the very essence of reality, with which concrete objects are rendered vehicles of emotions and thoughts reaching deep and far beyond this world.

Rays of sunlight shower down her studio from huge windows, and curtains of two-story high separate her working space and living area, and there are Ying’s large format works, in harmonic conversation with this space. Through the meticulous design and arrangement, even small miscellaneous items emit a tranquil feeling of intimate interaction between the artist and her subject/object.

Though started painting in her early teens, Ying’s full commitment as a painter was as late as 2000, and all works that she feels good enough to exhibit are from the past four years. We can roughly divide her creative works into three stages, pre-Y2K period when she was studying at CAFA and BFA, the academy-style of which shows much of her gift in painting; the 2003-2005 period when series of young women with dragon-fly, sunglasses, lily and peony blossom are created, her shift from representational to symbolic art has completed, the most representative one be the Blossoming Peony. It’s ambiguously beautiful that the peony-masked standing nude in water is both seducing and dignified. In her current third stage works, colors are obviously purified towards subliminal blue or purple, symmetrical compositions of floral and figures are all presented in pairs, and dramatic appearance is embedded with strong symbolic tendency.

It’s impossible to evade sexual (re)presentation in Ying’s paintings. That should be an instinct. No matter it’s the action of falling, blossoming of peony, or those nestling narcissism, they are all suggestive of intense desire.

Ying said that she always had falling feel in her dreams, and yes, that’s the only truth. Her works show no interests towards outside reality and she is only floating in an unreal space.

All these works are just the process of her painting, and who knows where they are leading to? It’s possible that her color would be simpler and the desire for life would be more intensely presented.

《马蹄莲·2008 No.2》，200X150cm