ARTIST 艺术家
EXHIBITION 展览
SUPPORT 支持
Meteorite Park: An Escape with a Researcher of Disorder
Akunna
On a late summer afternoon in 2024, there were torrential downpours alongside the strident chirping of cicadas. Huang Lan’s latest solo exhibition **Meteorite Park** opened at O2art at the threshold of autumn. The transition of seasons seems to foreshadow an ending and a new beginning. At present, the era we live in may be on the verge of another round of transformation, and the very fundamentals of life are being re-examined. A subdued outlook on life has become the real state of many people today.Yet if life were spared from overwhelming sorrow, rebirth would cease to exist. In truth, people can seldom evade suffering, and often endure fear and melancholy. What Huang Lan excels at, however, is facing life in its entirety. She does not disdain any emotion inherent to life; instead, she regards all feelings as precious—even resentment, jealousy, cruelty and unease.
Every emotion is an experience of being. Thus Huang Lan collects and dissects every fleeting moment, confronting them unflinchingly. Even the strangest passing thoughts are eternally frozen within her paintings.Why cinema as her creative medium? The answer may lie in Hermann Hesse’s reflection upon leaving Germany: *“I adore wandering, transformation and fantasy, and refuse to nail my love to any single spot on earth.”* Through the slender horizontal screen, one seems able to briefly break away from everyday life, stepping into another existence that feels close yet infinitely distant. The implantation of virtual memories lingers in the mind long after. Taking this as her point of departure, Huang Lan adeptly captures subtle moments from films. Works such as *Let’s Talk About Mount Fuji* (2019), *Barbecue* (2020) and *Pink Rocket* (2021) split virtual lives into boundless spaces, mirroring the fragmented identities of every individual, while deeply exploring differences in perspective and the pursuit of meaning. Rooted in diverse cinematic narratives, she constructs a far broader dimensional realm.In the exhibited works, Huang Lan continues her long-standing painting practice with remarkable creative resilience.
She places faith in time, and in persistent labor. The ancient tempera technique is extended through the accumulation of time. With layer upon layer of repeated brushwork, she employs jewel-like translucent hues to depict the destiny of every individual figure. From the texture of the cups in *Daily Feast* (2024), to the fingertips of figures in *Hunter Can* (2024), and the thick smoke rising from the blackened rooftops in *Homeland* (2024), Huang Lan constructs every detail meticulously, as if laying bare her inner thoughts in a grand, unreserved confession. Bold, solid outlines lend clarity and rationality to the existence of all figures, forming collective portraits that ultimately converge within the frame in an unexpected manner.Beneath Huang Lan’s paintings lies in fact an ambitious psychological drama. She is a master of reinterpreting stories, her delicate and sophisticated brushwork serving as a sweet outer veneer. As blurred vision flattens and sharpens, the true focal point is imperceptibly shifted. She masterfully controls the boundary where painting transcends the mundane.
Whether depicting ordinary figures or absurd scenarios, her expression remains restrained and plausible. The inward exploration of marginal emotions in her works stings for a fleeting instant, yet carries a tender and incisive undertone, gently shielding viewers from sinking into despair. At the same time, she is an astute social observer, reminding us that we have all stepped bravely into the turbulent mortal world. This is an artist’s innate gift, almost a supernatural power—and it is precisely this raw yet sincere strength that we need most at this moment.
陨石公园：一场与失序研究者的逃离
文/Akunna
Akunna
On a late summer afternoon in 2024, there were torrential downpours alongside the strident chirping of cicadas. Huang Lan’s latest solo exhibition **Meteorite Park** opened at O2art at the threshold of autumn. The transition of seasons seems to foreshadow an ending and a new beginning. At present, the era we live in may be on the verge of another round of transformation, and the very fundamentals of life are being re-examined. A subdued outlook on life has become the real state of many people today.Yet if life were spared from overwhelming sorrow, rebirth would cease to exist. In truth, people can seldom evade suffering, and often endure fear and melancholy. What Huang Lan excels at, however, is facing life in its entirety. She does not disdain any emotion inherent to life; instead, she regards all feelings as precious—even resentment, jealousy, cruelty and unease.
Every emotion is an experience of being. Thus Huang Lan collects and dissects every fleeting moment, confronting them unflinchingly. Even the strangest passing thoughts are eternally frozen within her paintings.Why cinema as her creative medium? The answer may lie in Hermann Hesse’s reflection upon leaving Germany: *“I adore wandering, transformation and fantasy, and refuse to nail my love to any single spot on earth.”* Through the slender horizontal screen, one seems able to briefly break away from everyday life, stepping into another existence that feels close yet infinitely distant. The implantation of virtual memories lingers in the mind long after. Taking this as her point of departure, Huang Lan adeptly captures subtle moments from films. Works such as *Let’s Talk About Mount Fuji* (2019), *Barbecue* (2020) and *Pink Rocket* (2021) split virtual lives into boundless spaces, mirroring the fragmented identities of every individual, while deeply exploring differences in perspective and the pursuit of meaning. Rooted in diverse cinematic narratives, she constructs a far broader dimensional realm.In the exhibited works, Huang Lan continues her long-standing painting practice with remarkable creative resilience.
She places faith in time, and in persistent labor. The ancient tempera technique is extended through the accumulation of time. With layer upon layer of repeated brushwork, she employs jewel-like translucent hues to depict the destiny of every individual figure. From the texture of the cups in *Daily Feast* (2024), to the fingertips of figures in *Hunter Can* (2024), and the thick smoke rising from the blackened rooftops in *Homeland* (2024), Huang Lan constructs every detail meticulously, as if laying bare her inner thoughts in a grand, unreserved confession. Bold, solid outlines lend clarity and rationality to the existence of all figures, forming collective portraits that ultimately converge within the frame in an unexpected manner.Beneath Huang Lan’s paintings lies in fact an ambitious psychological drama. She is a master of reinterpreting stories, her delicate and sophisticated brushwork serving as a sweet outer veneer. As blurred vision flattens and sharpens, the true focal point is imperceptibly shifted. She masterfully controls the boundary where painting transcends the mundane.
Whether depicting ordinary figures or absurd scenarios, her expression remains restrained and plausible. The inward exploration of marginal emotions in her works stings for a fleeting instant, yet carries a tender and incisive undertone, gently shielding viewers from sinking into despair. At the same time, she is an astute social observer, reminding us that we have all stepped bravely into the turbulent mortal world. This is an artist’s innate gift, almost a supernatural power—and it is precisely this raw yet sincere strength that we need most at this moment.
陨石公园：一场与失序研究者的逃离
文/Akunna
2024 年夏末的午后，有滂沱的大雨，也有聒噪的蝉鸣。黄蓝在新氧艺 O2art 的最新个展“陨石公园”在秋的伊始开幕。季节的更迭似乎预示着某种终结与新生。当下，我们所处的时代或许又将面临新一轮转变，生活的基本构成被重新审视。不太乐观的生活态度，是很多人眼下的真实状态。
然而，人生若能避开猛烈的悲痛，自然也不再有重生。事实上，人往往避而不能，且常常承受着恐惧与忧郁。但黄蓝最擅长的，恰恰是直视生活的全部。她不鄙视生命的任何一种感受，甚至认为所有的感情都是极好的，即便是怨恨、嫉妒、残酷与不安。每一种感情都是生命的体验，于是黄蓝开始收集、剖析每一帧时刻，并直面它们，哪怕只是一闪而过的奇怪念头，也在画面中被永恒地定格了下来。
关于为什么是电影？答案或许正如黑塞离开德国时的所想：“我崇拜流浪、变化和幻想，不愿将我的爱钉在地球某处。”透过细长的横幅屏幕，仿佛可以短暂且快速地从当下生活中跳脱出来，体验另一段似乎离我们很近，但其实又很远的人生。虚拟记忆的植入总是回味无穷，黄蓝以此作为创作的切入口，熟练地捕获电影中的微妙瞬间，无论是《聊聊富士山》（2019）、《烤肉》（2020）还是《粉红火箭》（2021），虚拟的人生被分裂出无限空间，映射着每个人离散的身份，并深度挖掘其中的视角差异与意义探求。建立在多元电影叙事基础上，搭建更为宽阔的维度。
展出作品中，黄蓝延续着她一直以来的绘画实践，在创作上保持着极强的韧性。她愿意相信时间，也愿意相信劳作。古老的坦佩拉技法在时间的叠加下得到延展，通过一笔笔、一层层地反复描摹，用珠宝般的透明色彩刻画出每个独立个体的命运，从《每日盛宴》（2024）杯子的材质，到《猎人罐头》（2024）人物的指尖，再到《家园》（2024）熏黑屋顶的浓烟，黄蓝事无巨细地构建着一切，如同一场声势浩大的袒露心声。响亮而坚实的轮廓使所有形象的存在变得清晰合理，从而构成群像，最终以出人意料的方式在画面中聚顶。
但黄蓝创作的背后实则是一场野心勃勃的心理剧。她更像是一个不折不扣的改编故事的高手，细腻老辣的画工宛如甜蜜的糖衣。当模糊的视线变得扁平且清晰，真正的焦点也在不知不觉中被转移，她自如掌控着绘画跨越日常的尺度，构成画面人物的也好、荒诞也罢，表现得都并不极端且情有可原。作品中边缘性情感的向内探求，像是一瞬的刺痛，却也拖着温柔犀利的尾巴，贴心地为我们免去致郁的危险。同时，她也是一个敏锐的社会观察者，提醒着我们都已勇敢地踏入了纷扰的人间。这是艺术家拥有的天赋，近乎超能力，这也是此刻我们最需要的残酷但真诚的力量。