展览“常态之见”在初看之下，可能会让人联想到某种类型的集体创作：仿佛是艺术家们围绕着一个主题驱动力而进行创作的群展。
然而，掩盖在表象之下的却是一种极其孤独又独特的创作实践。在这种实践中，艺术家亲手留下的痕迹贯穿于作品制作的每一个阶段，而在某些情况下这些痕迹又被刻意隐藏。他的工作室成为一个筛网，筛选出一系列参考元素，并将其谨慎地并入绘画的结构之中。正如查普曼自己所言，低浮雕作品是“通过雕塑手段进行的绘画”，是对一众依稀熟悉的事物的离奇摹写。
这一切的背后是一种模糊的基础。绘画的机制如同一个用于反复连接的试验板：颜料则是构建图像和联想的原矿。
安德鲁·查普曼于工作室 Andrew Chapman in his Studio
对查普曼来说，绘画象征着一种坚决而独特的记录。它们既是无法言喻的，又是物质化的对象，且兼具着近乎法医般的特质。这些作品意图与意义、时间、事物和地点建立联系。作品的表面往往类似于屏幕或照片，其中所做的标记与背景融为一体。对此类细节的关注反映了本质上的自负：认知、记忆和真相的模棱两可被编织进绘画的结构中，如同不寻常地推翻了某种现象学主题。
哲学家阿弗拉姆·斯特罗（Avrum Stroll）曾言：“……视觉正如一个为两方工作的双面间谍。它看似准确地报告了所发现的内容，同时也对其进行了歪曲。因此，它既是知识的来源，也是错误的来源。”
“常态之见”延续了查普曼作品中一个反复出现的主题，即通过自我催化的过程创作出一系列不同的作品。这些作品相互关联，化身为一把解读他整个创作生涯的钥匙。
安德鲁·查普曼工作室 Photo of Andrew Chapman's Studio
In Seeing in Normal Circumstances, an initial glance may appear to be the offerings of some type of collective: possibly, a group show of artists pivoting around a rolodex of thematic drivers.
What belies this, however, is a particularly solitary and singular practice. One in which the artist's hand, or in some cases the obfuscation of, is imbued in every stage of the work's production. The studio becomes a sieve through which a range of references are carefully folded into the apparatus of painting. Low relief works function as "paintings through sculptural means" as Chapman describes, and as uncanny facsimiles of the vaguely familiar.
Beneath all of this is an underpinning of ambiguity. The mechanics of painting function like a breadboard for iterative connections: paint serves as the raw ore in the fabrication of image and association.
安德鲁·查普曼作品于北京当代BANK画廊展位，2024
Installation view, Andrew Chapman's works at BANK's booth, Beijing Dangdai, 2024
For Chapman, painting is an emblem of a resolute, idiosyncratic record. At once both an ineffable yet materially grounded object, there is an aspect of his work that is almost forensic in nature. It wants to be linked; to meaning, to a time, to a thing, to a place. The surface properties of the works are often akin to a screen or photograph, where mark making and ground become fused. Attention to details such as this reflect an intrinsic conceit: the slipperiness of cognition, memory, and truth is woven into the fabric of painting, which is like a strange reverse engineering of some phenomenological subject.
The philosopher Avrum Stroll wrote "...vision is like a double agent that works for both sides. It seems accurately to report what it finds and also to distort it. It thus seems to be both the source of knowledge and a source of error."
Seeing in Normal Circumstances continues a recurring theme in Chapman’s output, namely, a body of disparate works that are arrived at through a self-catalyzing process. They are fostered in relation to one another and operate like a key to his oeuvre at large.
(Text from the artist, translated and organized by BANK. All right reserved)
安德鲁·查普曼 Andrew Chapman
宝藏的标记（1）Tresor's Survey Marker(1)
木板丙烯、塑料元件、环氧粘土
Acrylic on wood, cast plastic elements, and epoxy clay
27.9 x 24.1 x 1.9 cm
2024
安德鲁·查普曼 Andrew Chapman
(W)illows
板上布面丙烯 Acrylic on canvas over panel
88.9 x 78.7 x 3.5 cm
2024
安德鲁·查普曼 Andrew Chapman
行星的破裂/再融合 Planatary Rupture/Reintegration
板面油画 Oil on panel
27.9 x 24.1 x 1.9 cm
2024
安德鲁·查普曼
Andrew Chapman
安德鲁·查普曼出生于旧金山，目前生活和工作在加利福尼亚州洛杉矶。他在斯坦福大学获得艺术硕士学位，在旧金山加州艺术学院获得艺术学士学位。
查普曼曾在多家画廊和教育机构展出作品，个展项目包括在纽约 The Meeting画廊、旧金山 Et al.画廊、纽约独立艺术展、纽约新艺术经销商联盟艺术展，群展项目包括纽约 Petra Bibeau画廊、墨西哥城 Daniela Elbahara画廊、瑞士日内瓦 Portmanteau画廊、旧金山芳草地艺术中心和旧金山 The Popular Workshop画廊。他曾获得 Peter S. Reed 基金会个人艺术家奖项、 Jack & Gertrude Murphy 奖学金，以及 Edwin Anthony & Adelaine Bordeaux Cadogan 艺术奖学金。
Andrew Chapman was born in San Francisco and lives and works in Los Angeles, California. He received his MFA from Stanford University and his BFA from California College of the Arts in San Francisco.
Chapman has shown work at several galleries and educational institutions including solo presentations at The Meeting in New York, Et al. in San Francisco, and Independent and NADA art fairs. Group exhibitions include Petra Bibeau, New York, Daniela Elbahara, Mexico City, Portmanteau, Geneva, Switzerland, Yerba Buena Center for the Arts, and The Popular Workshop, San Francisco. He was awarded the Peter S. Reed Foundation Individual Artist Grant and Jack & Gertrude Murphy Fellowship and the Edwin Anthony & Adelaine Bordeaux Cadogan Fellowship in the Fine Arts.
