郭燕，生于陜西，1995年畢業(yè)于西安美術(shù)學(xué)院油畫系，獲學(xué)士學(xué)位。
展覽
2007
勞作與詩(shī)意—扉藝?yán)�，廣州，中國(guó)
帷幕聯(lián)展—菲籽畫廊，上海，中國(guó)
浮游--中國(guó)藝術(shù)新一代，首爾，韓國(guó)
透明之局--原弓當(dāng)代藝術(shù)邀請(qǐng)展，拉薩，中國(guó)
5+3--花聚錦官城—女性藝術(shù)展，成都，中國(guó)
潛力.成都--當(dāng)代青年藝術(shù)家邀請(qǐng)展，成都，中國(guó)
2006
首屆2006新動(dòng)力中國(guó)--當(dāng)代藝術(shù)雙年展，北京，中國(guó)
首屆2006新動(dòng)力中國(guó)--當(dāng)代藝術(shù)雙年展，上海，中國(guó)
成都后生代--當(dāng)代藝術(shù)澳門展，澳門，中國(guó)
春季沙龍油畫展，成都，中國(guó)
收藏
2007年《飄》1號(hào)和《飄》4號(hào)被中國(guó)美術(shù)館收藏
Guo Yan, born in Shanxi, a free artist living in Chengdu City, graduated from the Oil Painting Department Of Xi’an Academy of Fine Art in 1995.
2007 Curtain—group exhibition in feizi gallery shanghai,china
Floating—New generation of art in china seoul korea.
‘5+3’ Beauty Artists Fine Works Exhibition,Chengdu
‘Potential Chengdu’ Young Contemporary Artist Exhibition 2007,Chengdu
Sihai Art Institute ‘Invited Artist Exhibition’, Chengdu
2006 Z Arts Gallery ‘Contemporary Art Exhibition ’, Chengdu
The First ‘New Power China’ Contemporary Art Biennale 2006 ,Beijing
The First ‘New Power China’ Contemporary Art Biennale 2006 ,Shanghai
Macao ‘Chengdu Youth’ Contemporary Art Exhibition, Macao
‘Spring Salon’ Oil Painting Exhibition, Chengdu

創(chuàng)作隨想
我常常感覺生活在自己虛擬的世界里，沉浸在超離現(xiàn)實(shí)的空間中，無序而癡迷的幻想，雖然這多少顯得有些可笑。
回想近期的《飄》系列和《浮》系列，確實(shí)無意間流露出我內(nèi)心深處，對(duì)現(xiàn)實(shí)與理想的許許多多游離不定的思考。我希望我的作品能表現(xiàn)出人與人，人與城市之間的那種既疏離又相互依附的矛盾關(guān)系。即使是熱戀的情侶在幸福之中也會(huì)充滿危機(jī)和莫名的傷感，這種傷感其中也包含了我們?nèi)找鎿頂D的城市，荒誕和浪漫并存，那里才是我們的夢(mèng)中家園？這些復(fù)雜的生存關(guān)系也常常讓我著迷。
我也無法超越自己的生存體驗(yàn)，背棄自己的內(nèi)心，去畫些對(duì)自己沒有感觸的事物，所以每幅作品都是我內(nèi)心世界的真實(shí)投射，雖然這些作品也許并不成熟，但對(duì)我而言，它是真實(shí)的！

郭燕 2007.10 于成都  

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紫色如煙

郭燕的《飄》系列以紫色作為基調(diào)，呈現(xiàn)當(dāng)代都市生存經(jīng)驗(yàn)中人與人、人與城之間疏離而又依附的難以理清的糾纏聯(lián)系。這些畫面令人感傷。當(dāng)代都市空間與文化研究最重要的思想家亨利·列斐伏爾（Heri Lefevbvre）提出“什么才是社會(huì)關(guān)系的真正存在方式？”這個(gè)必須回答的理論問題。在《空間的生產(chǎn)》一書中，列斐伏爾用“空間本體論”回答了這個(gè)問題。在他看來，社會(huì)關(guān)系存在的根本地基是都市空間的存在與生產(chǎn)，現(xiàn)代都市的人造環(huán)境是“社會(huì)關(guān)系的粗暴濃縮”。在近二十年來中國(guó)城市前所未有的高速發(fā)展過程中，我們看到了這一點(diǎn)。忙忙碌碌的都市人穿梭在鋼筋水泥的叢林中，在對(duì)物欲的瘋狂追逐中越來越物質(zhì)化和機(jī)械化，樓建得越來越高，大地越來越遠(yuǎn)。飄零的身世、思鄉(xiāng)的濃愁逐漸被功名利祿層層遮蓋，田野、家園和世界的詩(shī)意只能在夢(mèng)中偶爾靈光一現(xiàn)。在大幅尺寸的畫布上，郭燕揮灑著夢(mèng)幻、奢靡而又神秘的紫色來訴說自己對(duì)幸福人生的夢(mèng)想和淡淡的鄉(xiāng)愁。紫色，這個(gè)最屬于女人的顏色，被她令人心驚的用盡。在每個(gè)畫面上，層層疊疊的紫色勾勒出一個(gè)又一個(gè)都市男女的溫柔夢(mèng)鄉(xiāng)。在這些明顯虛擬的場(chǎng)景中，偎依在床上的青年情侶漂浮在都市的樓群上空，它寓意深長(zhǎng)的張力讓人想起夏加爾那些時(shí)空穿插中溫暖而又憂傷的畫面。如果如列斐伏爾所言，現(xiàn)實(shí)社會(huì)不斷通過對(duì)城市空間的生產(chǎn)來強(qiáng)化自己的物質(zhì)基礎(chǔ)與社會(huì)結(jié)構(gòu)，那么，藝術(shù)家唯一能做的就是通過對(duì)藝術(shù)作品與藝術(shù)空間的生產(chǎn)來安頓流浪的心與無根基的生存。在自己畫面的處理上郭燕頗費(fèi)心思。她把象征城市的大片樓群安排在畫面的遠(yuǎn)處，用紫得近黑的顏色信筆涂抹，隨意地勾勒出一些輪廓，雖不清晰，仍然傳達(dá)著當(dāng)代人對(duì)都市生活的感受：繁雜、混沌、喧囂，但又如一張巨大的網(wǎng)無處不在。在龐大的城市上空，是溫馨的粉紫色來表現(xiàn)床墊、床單和枕頭，再用白色提出如紗般飄逸透明的調(diào)子。年輕的情侶在甜美的夢(mèng)中相擁而臥，相偎相依，他們?cè)陟o謐的夜里飛離現(xiàn)實(shí)，用愛情與家庭的溫馨逃避涼薄煩亂的都市生活。郭燕是否有意無意告訴我們，在城市的冰冷和逝者如斯的惶恐里愛是我們無望人生中唯一的救贖和慰籍？ 以如此豐富的紫色，郭燕構(gòu)建出一個(gè)愛情烏托邦來試圖對(duì)抗我們?cè)较菰缴畹亩际兄�網(wǎng)，但這張頗具象征意味的席夢(mèng)思是否會(huì)如神話里的魔墊帶人們回歸夢(mèng)中的家園，我們不得而知。虛幻的“飄”和“夢(mèng)”這兩個(gè)主題顯示出了畫家對(duì)此思考的游移和不確定，也許畫面上深深淺淺的紫色正是她輕輕的嘆息。

——彭肜

By Rong Peng

Yan Guo’s series of artwork ‘Gone with the Wind’ adopts the colour purple as its foundation. This work of art captures the contemporary urban experience of human survival – the entanglement and alienation between humankind and the city. These pictures effect sorrow in their viewers. Henri Lefebvre, a prominent philosopher in the study of contemporary urban space and culture, raised the critical theoretical question: ‘what are the social relationships embedded in space?’. In his book The Production of Space, Lefebvre answered this question by using ‘space’. In his view, social relations are based on the very existence of urban space and production. Space, according to him, is anything but the ‘passive locus of social relations’. We see this point in the unprecedented development of China’s cities in the last 20 years. Daily, China’s urbanites hustle and bustle through concrete jungle. In pace with the growing pursuit of materialistic wealth, the jungle has become increasingly lofty and domineering,? creating a distance between its inhabitants. The realities of homelessness and depression have been gradually masked by position, power and wealth. The beauty of the natural environment external to the urban space can only be experienced in the illusions of our dream world. Dramatically, on the vast expanse of her canvas, Yan spreads the most extravagant and mysterious shade of purple – conveying her dreams of a happy life yet endless homesickness.
Purple, the color of femininity, is wielded expertly in Yan’s hands. In each of her paintings, shades of purple express the dreams of the urbanites. In these implicit scenes, young lovers lean against a bed whilst floating high above the city buildings. Its allegoric tension reminds us Marc Chagall’s warm pictures of a space-time paradise. If, as Lefebvre said, the real world is trying to strengthen its material base and social structure by creating more urban space, then the only thing artists can do is use their artworks to settle down their wandering hearts. Yan exposes her intimate thoughts and feelings in her paintings. The letter T and arbitrary contours are smeared across the canvas in a deep, dark purple, achieving the likeness of large urban complexes. The image conveys a contemporary urban life –? a sense of complexity, chaos, and noise, is cast like a net over the surroundings. Above the city, a warm hue of pink-purple transforms into mattress, bed sheet and pillow – white enhances the elegant yarn of the material. Young lovers hug, in their sweet dreams they fly in the quiet night away from reality. By escaping from the cold world they capture love and warmth. Whether Yan Guo is expressing her notion that ‘love’ is the one true path of salvation from the city’s coldness? Purple, Yan Guo has constructed a Utopian love in which the urbanites can escape the confines and entrapments of urban life. Like the magic carpet of Arabic mythology, can Yan’s mattress transport the lovers to their longed for utopia? These two symbolic themes, ‘Gone with the Wind’ and ‘Dream’, reveal the artist’s hesitation and brooding over the question. The dark and light shades of purple reflect her contemplative mood.

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放逐于“新都市寓言”
陳 默
郭燕的藝術(shù)，有一種新都市寓言的狡猾意味。其出發(fā)點(diǎn)，是基于對(duì)城市化進(jìn)程中發(fā)生的種種問題的思考。在一個(gè)經(jīng)濟(jì)高歌猛進(jìn)，資訊網(wǎng)路橫行肆虐，社會(huì)空間妖霧迷漫的當(dāng)下，有財(cái)?shù)陌l(fā)財(cái)，無財(cái)?shù)南胴?cái)，急猴了竊財(cái)。貪官一波波倒又一波波長(zhǎng)，百姓一批批向好又一批批學(xué)刁。財(cái)富向少數(shù)人匯集，貧窮為多數(shù)人占有。倫理道德逐漸停留在書本層面，誠(chéng)實(shí)信用更多地是作為前人的美德供人瞻仰。可以說，從未有過的空虛和零亂，在人們的毫無防備中，悄然入侵。天天發(fā)生在眼前的故事，在不能漠視也不能回避的情形下，從社會(huì)學(xué)角度，挪來為創(chuàng)作所用是可能的。郭燕的作品，大致為兩個(gè)階段：前期的《紫色印象》和近期的《飄》系列。兩個(gè)系列中的基本框架，是城市與男女。所謂“城市”概念，既清晰又模糊。這是因?yàn)樵诶�益的�?qū)使下，城鄉(xiāng)一體，農(nóng)非一體。既然“一體”，邊界自會(huì)模糊。其代價(jià)是，滿足了一時(shí)虛榮，消解了各自的魅力。而“男女”，既是構(gòu)成社會(huì)階層實(shí)體的基礎(chǔ)單元，也是諸多問題的源頭。同時(shí)，這也是古往今來文學(xué)藝術(shù)樂此不疲的表現(xiàn)內(nèi)容。用作者的話說，“我們生活在城市化的矛盾困惑中，對(duì)大自然存有原始的渴望�！碑�(dāng)這種困惑日益加深時(shí)，對(duì)原始自然的渴望也越強(qiáng)。難怪人們要懷舊，因?yàn)椤芭f”中有田園牧歌，有享樂親情。阡陌相聞縱歡，鶯歌燕舞天倫。當(dāng)這一切差不多如海市蜃樓，離我們漸行漸遠(yuǎn)時(shí)，當(dāng)人類不再擁有童年，當(dāng)大家“窮”的只剩下錢，我們能做的，不過是充當(dāng)在城市的暮藹中游弋的生靈。那些乘“飛毯” 飄蕩的男女，有紫色的溫潤(rùn)與誘惑，有灰色掩隱的病灶與危機(jī)，有寓言化的荒誕與浪漫。所有這些，都在藝術(shù)家精準(zhǔn)的語(yǔ)言把握中，在個(gè)性化的觀念圖式中，有了必然因果。

2007年4月于成都龍王廟

Marooned on “The New City Fable”
Chen Mo
Guo Yan’s art carries with it a kind of elusive aura of the new city fable. It starts on the basis of the consideration of issues emanated from the process of urbanization. The monstrous fog of boisterous economic growth, and abusive expansion of information network, enshrouds the entire society. The rich continue to be rich, the destitute aspire to get rich, and the impatient steal. Bunches of corrupt officials grow on the wake of the fall of bunches of corrupt officials. Lots of citizens learn to be good and lots of them learn to be bad. Wealth tends to be concentrated in a small minority and the majority was poor. Ethics and morality have gradually got stuck at the level of books .Honesty and faith is more often than not are merely virtues of forefathers to be adored. It can be said that unprecedented vacuum and disorder has silently invaded without the slightest premonition of people. In circumstances which cannot be ignored or avoided, daily occurrences right under people’s nose are likely to be borrowed, from the angle of sociology, for the use of creative work. Guo Yan’s works of art can generally be divided into two stages: namely, the earlier stage of “The Purple Impression” series and the recent “Float” series. The basic framework of these two series was the city, and man and woman. The so called “city” concept was at the same time both clear and blurred. This is due to the fact that in the pursuit of profit, city and village are unified but farming is not. The boundary will naturally become unclear for being “unified”. The price for this is the dissolution of their respective charm for the sake of satisfying the vanity of the moment. On the other hand, man and woman are the basic component units of the body of various social strata, and are the source of various issues. This is at the same time the ever popular theme of literature and art, past and contemporary. To quote this writer’s words: “As we live in the midst of conflicting confusion of urbanization, we hold a primitive desire for Nature.” The primitive desire for Nature will intensify on the ever deepening of this kind of confusion. No wonder people are nostalgic because in the nostalgia, there are pastoral lyrics, family love, countryside partying and singing and dancing family relations. All these are almost like mirage. When we gradually travel farther away, or when mankind no longer live childhood, or when we are so “destitute” as to have lost everything except money, all we can do is to play the roles of spirits floating in the twilight of the city. Those men and women traveling on “flying carpets” are adorned with the moist warmth and seduction of purple. There are hidden sickness and risks of grey. There are fabulous weirdness and romance. All these, managed by the precise language of the artist, and presented and characterized pictorially, have consummated the definite outcome of causation.

April 2007 at The Temple of Dragon King, Chengdu

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