网站原创“嘿,快看!那个女孩是全裸的!但是这是艺术,所以没有关系.”
“Hey, look! She’s naked! But it’s art, so it’s all right.”
――《纽约时报New York Times》
“Brian Reed的作品强烈地展现了对自然的一种崇敬.”
“Reed’s work suggests a strong reverence for the environment”
――《华盛顿外交官报The Washington Diplomat》
“Brian Reed作品中每一个Nkisi都包含了巫术和一个灵魂,把二者巧妙地合二为一,然后就赋予了它鲜活的生命和力量.”
“Each nkisi contains medicine （bilongo） and a soul（mooya）, bined to give it life and power.”
――罗伯特法瑞斯汤普森 非裔美籍学者 Robert Farris Thompson, Afro- American scholar
去年9月份,美国新锐艺术家Brian Reed在纽约曼哈顿西区的Charles West Gallery举办了他的艺术作品展览,三层的展厅展示了他近十年的艺术作品.伴随着这个展览盛典,Brian Reed也携带着他的下一个创作主题《From China to the Universe》开启了他的中国之旅.
近几年,Brian Reed每一次的作品展览,都会引起不小的轰动,如潮的褒奖中也夹杂着诸多非议.但褒奖抑或非议仅仅是观者对作品的个人感觉,不能以此来衡量一个艺术品的价值,更不是艺术家第一渴望的事情.如Brian Reed所说,他最希望的是他的作品可以直抵人的内心,让其联系到自身与周遭,产生共鸣,哪怕他们没有留下只言片语.
Brian Reed的3个成长蒙太奇
蒙太奇一：上世纪80年代末期,美国西弗吉尼亚中部的一个农场里,年幼的Brian Reed快乐地成长着.稳定、优渥的家庭以及父母的悉心呵护使他内心充满了孩童的天真与好奇.在他眼中,农场附近的山川、森林和淌水和人类一样,都是生机勃勃的个体,而且好像在用一种他不懂的语言跟他诉说着.
蒙太奇二：Brian Reed的父亲因车祸去世.失去亲人的痛苦让他开始思考苦难、不幸以及愤懑.不久,Brian Reed去了家乡一家画廊学习人物绘画课程,因为他想为世界和内心找个新的认识角度和宣泄角度,这一年他17岁.第一节课的内容便让他内心生畏,因为那里尽是前卫的模特和作画经验丰富的成年人学生,而他是一张白纸,无所适从.慢慢地,通过捕捉站在他面前的模特的外在去洞悉他们的内心,然后用画笔将他的理解临摹于纸上成了他穿越时间和空间,体验另一种生活的方式.
蒙太奇三：2002年,Brian Reed进入James Madison大学攻读艺术本科,荣获2003年和2004年校本科生作品展览一等奖.2006年,一场车祸导致了Brian Reed下半身瘫痪.通过持续、坚忍的物理治疗,2008年,Brian Reed康复.在康复的过程中,一种将他的经历和当下其他传统联系起来的情感更加强烈.2008年秋天,Brian Reed进入耶鲁大学攻读艺术研究生,再一次为他的艺术之路寻找渡口.
“在我康复的那段期间,我想过我的生命将何去何从,我是不是该改变我内心对艺术以及生活的执着,去尝试着过另一种我从来没有想过的生活.”Brian Reed轻描淡写地对本刊讲述着他的那个遭遇.但他强调,通过每个不幸的遭遇,每一个人的心灵都能在治愈的过程中不断地变得强大.后来,他以这个为出发点,创作了一系列作品.这一系列作品中,包含着一些潜在的危险或者伤害的可能性.
Brian Reed的艺术语言
有言曰：观其画,画如其人；观其人,人如其画.
Brian Reed的自然性格很简单,但是他的艺术性格却很难让人捉摸.就如他的作品,第一眼看去,读不懂他在表达什么.“他受外界的影响是每时每刻的,你不清楚他下一步会做什么.” Brian Reed身边的工作人员给了他这么一个评价.Brian Reed把他的北京工作室专门用来作画的房间内壁和地面全涂成了白色,“白色单纯,可以让我保持沉静,而且有助于我的创作思绪的延展.”在参观他的工作室时,这句话向本刊印证了他身边工作人员对他的评价.
Brian Reed学习过印象派画家和19世纪末20世纪初的野兽派画家的表现手法,而且在他的作品中所运用的技法,都是他自学得来.他喜欢通过许多不同的媒介和表现方式,创造一种艺术的语言.风景画艺术家Sandra King和摄影师、概念派艺术家James Crable在Brian Reed的艺术发展过程中也占据了重要的地位.他们的课程让Brian Reed一点点挖掘他艺术家的潜能.那些日子里,他沉浸于静物画创作的喜悦中,提高了技法的娴熟度,同时又进行了一次自我认知.
Brian Reed分别以欧洲文化、伊斯兰教、印度神学、中国等为创作主题,创作了一系列作品,来展示他眼中这些文化的外在和内涵.这些作品包括画作、摄影作品、纤维艺术作品、雕塑作品、行为艺术作品等.Brian Reed用他非凡的艺术品位和独具的挑选、搭配天赋把原本不相关联的东西组合在一起,将平常的事物通过色彩的碰撞、对比,搭建起了原本独立的事物之间的联系,使它们变身为高雅的艺术,虽然其中一些被人们认为怪异甚至荒诞.《Tango： The Art History of Love》一书作者Robert Farris Thompson对Brian Reed的评价充满了溢美之词,在他看来,“Brian Reed的作品强调精神意义的表达,充满了无拘、自由的形式,极具个人风格,同时他也是一个致力于表现物质质感的艺术家.” 作为美国一位年轻的新锐艺术家,Brian Reed近年来获得了业内和社会越来越多的肯定和褒奖.但在他心中,沉浸于艺术的创作中才最令他兴奋,灵感来袭时,他可以置身于创作中24小时不休息.他对艺术的创作要求极为严谨,犹如正在制作一把斯特拉迪瓦里斯小提琴.右手创作的过程中,左手已经深深探及你的内心.
From China to the Universe
去年9月份,Brian Reed在纽约曼哈顿西区的Charles West Gallery举办了他的艺术作品展览,三层的展厅展示了他近十年的艺术作品.伴随着这个展览盛典,Brian Reed也携带着他的下一个创作主题《From China to the Universe》开启了他的中国之旅.该系列作品的组合元素都以他在中国发现的一些常见的东西为主.他用艺术的手法把它们结合起来,意在表达贯穿中国传统文化的宇宙观.
在Brian Reed眼中,中国龙无处不在,也是最传统、最具辨识度的中国符号.“当我在北京的路上散步,游走时,我发现龙的元素无所不在.我在植物中发现了它,在路边依偎的小狗中感知到它,从树木中发现了它,从不同的水果、金鱼中感觉到它,有时候还会在人群中窥探到它的踪迹.所以我选择正在生长的丝瓜来代表正在生长的龙.”在带本刊欣赏他来中国后创作完成的第一幅名为“Dragon Garden”的作品时,Brian Reed这样解释他感知到的中国以及这幅作品的创作想法.
在创作这幅作品时,Brian Reed位于宋庄的工作室的花园里,有一株丝瓜藤生机勃勃地无尽地蔓延开来.这种藤蔓遍布于宋庄、北京以及大部分的中国地区.这是一个很平常的东西,以至于我们见到它不会再有任何的联想.但是在Brian Reed的眼中,这却是一个很好的灵感来源.
刚到中国时,Brian Reed并未立即着手关于“From China to the Universe”的创作,而是去观察、感受周围的环境和人,更进一步地了解中国.“虽然我小时候就向往中国,通过各种渠道对中国也有一些了解.可我想创造一些具有代表性的东西,而且与此同时,也渗透出一些‘Brian’式的元素和魔力.”
《From China to the Universe》主题作品目前完成了一部分,是一个集多种艺术表现形式的装置,需要一个独立的艺术空间来展示.“陶制的锦鲤漫游于象征着星空的陶制月饼的周围,就如同漫游于天际间.附在陶制月饼表面的图案源自于佛教中对曼陀罗花的描绘以及其他中国的传统文化符号.在展示时,锦鲤和月饼以静物的方式被有序地摆放,上方会悬挂两盏散发着红光和紫光的霓虹灯.”在他的北京工作室里,Brian Reed还指着他正在创作的一幅作品讲道,“看,成群的鱼游荡在荷花之中,犹如游荡在太阳系或者回旋的星系中.但它们并不是无序游荡,都是从右向左,目标是那一艘中国式的渔船.我想展现一种‘自我旅途’的意思,有一种禅意的思绪在里面.”《From China to the Universe》将整个二维的油画作品镜像于三维的现实世界中,给人多角度的视觉和心灵触动.而今年5月份,Brian Reed会在上海举行第二波的《From China to the Universe》主题作品展.
Last September, Brian Reed, an ant-garde American artist exhibited his works over the last ten years over three floors of Charles West Gallery, in West End, Manhattan, New York. He is now making a tour in China with the “From China to the Universe” series.
Brian Reed always makes a splash with his exhibitions, attracting a tide of praises as well as some doubt. Art critici is purely personal, not a gauge of the value of artistic creation, nor what artists really cre for. Brian Reed hopes that his works can reach out deep in people’s heart, striking a chord in them, even when he is not suggesting anything in words.
Brain Reed’s Three Tales
First Tale In 1980s, Brian Reed was growing up happily in a ranch in the middle of Virginia, as a happy and curious boy in a fortable and stable family. He loves mountains, forest and streams nearby, which seem to talk with him in an unknown language.
Second Tale Brian Reed lost his father in a car crash and his emotions and life was filled with suffering, miortune and anger in the great sorrows of his life. He went to a gallery to learn figure painting, in search of another angle to see and make sense of the world. He was seventeen. The first lesson held him in awe. He was a piece of white paper, very much lost amongst ant-garde models and seasoned adult students. Gradually he was able to go inside the heart of his models and draw what he observed on paper. He could go beyond time and space to experience another lifestyle. Third Tale Brian Reed studied art at James Madison University and won first prize in 2003 and 2004 for his works. In 2006, he was paralyzed on the lower body in a car incident. He endured physical treatment and recovered in 2008. In recuperation, he felt strongly the urge to connect what he had experienced with tradition. In the fall of 2008, he went to Yale to study in the History of Art department as a post-graduate student, looking for another artistic breakthrough.
“When I was recovering, I was thinking about the way forward, how should I change my obsession with and focuses in life and try something pletely different?” Brian Reed narrated what he had experienced matter-of-factly. He emphasized that one actually became much stronger in the healing process, after miortunes. He created a series of works based on this learning, in which he alluded to potential risks and injury.
Brian Reed’s Artistic Language
It says that one’s painting says a lot about oneself, and you are what you paint.
Brian Reed seems to be a simple guy, but his artistic personality could be elusive, just like his works. One doesn’t get what he is expressing at first sight. “He is affected by the world every single moment, and you don’t know what he is going to creat the next minute,” said a staff working for him. Brian Reed painted the walls and floors of his Beijing studio white. “White is pure and keeps me calm, helping to expand my creations.” He told us when we visited his studio.
Brian Reed had learned the techniques of Impressionist and Fauvist painters at the end of the 19th century and early 20thcentury. He learned other techniques himself and uses them in his works. He loves using different medium and techniques to create a new artistic language. Sandra King, a landscape painter, and James Crable, the photographer and conceptual artist left their marks in Brian Reed. Brain Reed unleashed his artistic talent from their classes. In those days, he immersed in painting joyfully, improved his techniques and further discovered himself.
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Brian Reed created several series with themes of European culture, Islam, Indian mythology and China, showing what the look as well as essence of these cultures. He created paintings, photographs, fiber works, sculpture and behior art. With his exceptional taste and sense, he mixed and matched totally unrelated materials, building connections between ordinary materials through contrasting colors and other techniques. He turned them into high art, although people occasionally see absurdity in his works. Robert Farris Thompson, regarded scholar at Yale and the author of Tango： The Art History of Love was full of praises for Brian Reed, “Brain Reed’s works emphasizes spiritual expressions with an unconstrained and free style and full of personal style. And he is an artist dedicated to expressing the materiality of things.” As an ant-garde artist, Brian Reed has won more and more recognition and praises in recent years, both from the artistic and wider munity. But what excites him most is still artistic creation. He could go on for twenty-four hours without a break when inspired. He is extremely rigorous with his creations, as if he is making a Stradivari Rees violin. He creates with his right hand, and reaches out to your heart with his left.
From China to the Universe
Last September, Brian Reed, an ant-garde American artist exhibited his works over the last ten years over three floors, at Charles West Gallery, in West Village, Manhattan, New York. He is now making a tour in China with the “From China to the Universe” series. He bined what he had observed in China on an everyday basis in an artistic way, meaning to express a unifying world views in traditional Chinese culture.
In Brian Reed’s eyes, the Chinese dragon is ubiquitous, being the most traditional and recognizable symbol. “When I walk on the streets of Beijing, I find elements of dragon everywhere, in plants, dogs, bushes, fruit and golden fish, and even in crowd. That’s why I choose growing Loofah to suggest growing dragon.” Brian Reed showed us “Dragon Garden”, his first finished work after he came to China, and explained how he felt about China and what had driven his creation.
When he was painting, a Loofah grew rampantly in the garden of Brian Reed’s studio in Song Zhuang. This kind of vine can be seen in Song Zhuang, Beijing and lots of places in China. It is so mon that we don’t really see it. But it inspires Brian Reed.
When Brian Reed first came to China, he didn’t immediately start to do “From China to the Universe”. He was merely seeing and feeling what is around him, to know China better. “I longed for China when I was all, and I know something about China through various means. But I want to create something more representative, and with the ‘Brian’ signature and magic.”
“From China to the Universe” is only partially pleted. It is a multi-format exhibition that requires a very stand-alone space to display. Earthenware Koi wanders around moon cake of the same material, which suggests starry sky. The moon cake is decorated with Buddhist Datura flowers and other symbols of traditional Chinese culture. Brian Reed placed Koi and moon cake in a very orderly way, with reddish and purplish neon signs hung overhead. Brian Reed explained another piece to us in his Beijing studio, “Look, a group of fish swims in the lotus, as if wandering in the solar system or rotating stars. But they are not wandering aimlessly, but from right to the left, targeting a Chinese fish boat. I want to show ‘a journey of self’, and there is Zen in it.”“From China to the Universe” traners 2D oil painting into 3D real world, touching people visually and spiritually with multiple perspectives. Brian Reed will exhibit “From China to the Universe” in Shanghai in May 4th-17th at the 99 Artspace.