肖像画中的“主体性”在自我表达与社会角色构建的作用随着时代产生变化。
——Joanna Woodall
在西方艺术史的变迁中，肖像画最早在古代社会被用于表现权利与宗教神性权威：大约5000年前展示法老神圣与永恒性的古埃及，或是展示个体容貌与理想化品德的希腊与古罗马；文艺复兴时期在人文主义思想影响下艺术家们转而追求个体独特身份与内在心理特质的探索，而后在现实主义与印象派影响下转而强调日常生活与真实瞬间的捕捉；进入20世纪后，现代主义的兴起使得肖像的表现形式更加多样并充满实验性，通过对于被刻画人物的解构与重构，肖像打破了传统的视觉规则，转而着重强调画家与观者的主观感受与心理状态。
Throughout the evolution of Western art history, portraiture was initially used in ancient societies to convey authority and religious divinity: about 5,000 years ago, it showcased the sacredness and permanence of the Pharaohs in ancient Egypt, or depicted individual appearances and idealized virtues in Greece and Rome. During the Renaissance, influenced by humanism, artists began to explore the unique identity and inner psychological characteristics of individuals. Later, under the influence of realism and impressionism, the focus shifted to capturing everyday life and authentic moments. In the 20th century, the rise of modernism brought greater diversity and experimentation in portraiture, where the deconstruction and reconstruction of figures broke traditional visual norms, instead emphasizing the subjective emotions and psychological states of both the artist and the viewer.
Duo lanna 多兰娜
纸本水彩 Watercolor on paper
76.5x106cm, 2021
在中国，肖像画不仅是个人形象的再现，更承载了深厚的文化内涵与精神意向，“传神写照”理念强调以线条气韵表现人物内在的精神世界而非单调再现外貌特征，以肖像画象征人格高洁与丰富的自我涵养。
In China, portraiture is not only a representation of personal image but also carries deep cultural significance and spiritual intent. The concept of “chuan shen xie zhao” (conveying spirit through depiction) emphasizes capturing the subject's inner world and spirit through the vitality of lines rather than merely replicating external features, with portraits symbolizing noble character and profound self-cultivation.
SOMEONE
边雄必 Byen Ung-Pil
亚麻布油画 Oil on linen
53x40.9cm, 2020
在当代艺术领域，肖像画成为艺术家探讨身份、社会、文化认同的媒介，它不再是对个体形象的描绘，艺术家讲自身经历与情感融入艺术创作，肖像画也转而变成地缘文化、权力结构、社会变革、文化与身份认同等多层次因素的综合表现。
In the realm of contemporary art, portraiture has become a medium for artists to explore identity, society, and cultural recognition. It is no longer a depiction of individual likenesses. Artists now infuse their personal experiences and emotions into their creations, making portraits a complex representation of regional culture, power structures, social transformation, and identity.
The Light of her face falls from its flower, as a hyacinth,
hidden in a far valley, perishes upon burnt grass
她脸上的光芒从花朵中陨落，就像隐藏在
远处山谷中的风信子，在烧焦的草地上凋零
Faye Wei Wei
布面油画 Oil on Canvas
183x81cm, 2022
此次展览EYECANDIES眼糖 x 逵园艺术馆呈现来自艺术家吴晶玉（Jade Ching-yuk Ng ）、 多兰娜（Duo Lanna）、 乔纳森·巴尔多克（Jonathan Baldock）、布莱恩·加尔文（ Brian Calvin）、 边雄必（Byen Ung-Pil）、 朴星沃（Park Sungok）、弗里达·万纳伯格（ Frida Wannaberger）、罗斯·怀利（ Rose Wylie）、 Faye Wei Wei的肖像画作品，艺术家们以敏锐的观察力和独特的笔触，捕捉了每个个体的复杂情感与独特经历，展现了他/她们在当代社会结构中的位置与命运。这些肖像不仅仅是静止的画面，而是人性一面镜子，反映着我们身处的现实与人类的本质。
This time EYECANDIES x Kuiyuan Art Gallery presents portrait works by artists Jade Ching-yuk Ng, Duo Lanna, Jonathan Baldock, Brian Calvin, Byen Ung-Pil, Park Sungok, Frida Wannaberger, Rose Wylie, and Faye Wei Wei. Through keen observation and unique strokes, the artists capture the complex emotions and unique experiences of each individual, revealing their place and fate within contemporary social structures. These portraits are not merely static images but mirrors of humanity, reflecting the reality we live in and the essence of the human condition.
Girl with Green Apple 拿着青苹果的女孩
朴星沃 Park Sungok
纸本彩铅 Pencil on Paper
39x54cm, 2018
通过这些作品，我们希望引发观众对自我认知、社会角色与人性复杂性的思考，找到自我与他人、与世界的共鸣与联结。
Through these works, we hope to inspire the audience to reflect on self-awareness, social roles, and the complexity of human nature, finding resonance and connection with themselves, others, and the world.
In Anticipation / Emotional blockage 在期待与情感障碍中
弗里达·万纳伯格 Frida Wannaberger
纸⾯铅笔与拼贴 Pencil and collage on paper
42x59.4cm, 2022
多兰娜（Duo Lanna），1986年生于内蒙古科尔沁，蒙古族。2004-2008 内蒙古大学艺术学院。2008-2010 北京服装学院。独立青年策展人；青年自由艺术家。现生活工作于内蒙古科尔沁，北京。多兰娜对画面始终拥有一种充满灵气的掌控力。在昏沉的暗调之下，赤裸的身体、面颊、衣物、生灵，均氤氲于一团迷雾之中，流露出黑色幽默式的啼笑。然而啼笑的背后，似乎还有更为博大的东西作为镇守，具有俯视众生的姿态。受文字所限的我们，只能将其归结于对生活超然的感悟性，以及反观内心时通透的映射。更难能可贵的是，这不同寻常的超然和通透所引向的，并非冰冷决绝的抽离，乃至不再能够展现出人性的热度，而是精灵古怪式的激情。澎湃之间，更有信仰、性感、叛逆、戏剧，如跳糖一般夹杂着，持续不断地向外扩张着活力。最终，无论迷雾有多么深重，我们看到的，仍是一双眨动的，澄澈如水的眼睛。
Duo Lanna Born in 1986, she is an independent young curator and freelance artist. She currently lives and works in Horqin, Inner Mongolia, and Beijing. Duo Lanna possesses a unique, intuitive command over her visual compositions. Beneath a haze of muted tones, naked bodies, faces, clothes, and living beings seem to dissolve into a mist, exuding a sense of dark humor and irony. Yet, behind this irony, there appears to be something grander and more profound, observing with a sense of omniscience. Restricted by language, we can only describe it as a transcendent insight into life and a transparent reflection when turning inward. What is even more remarkable is that this exceptional transcendence and clarity does not lead to cold detachment, devoid of humanity’s warmth. Instead, it bursts with an eccentric passion—a fervor mixed with faith, sensuality, rebellion, and drama, expanding outward with uncontainable vitality. In the end, no matter how thick the mist, what we see is a pair of clear, water-like eyes, still blinking.
英国画家Faye Wei Wei的作品大胆而富有诗意，充满了活力与抒情的动态，巧妙结合古典的优雅与强烈的当代感。她以大尺幅创作，将绘画过程视为现实空间与画面空间之间的亲密舞蹈。作品时常围绕精神象征、古典神话、爱情仪式与性别的戏剧性展开，有时暗示着特定的神话叙事，另一些时候则进入更为模糊、内省的矛盾与不确定空间。在她的画布上，庄重与力量、柔和的粉彩并存，符号仿佛挣脱了原有的含义，在梦境般的流动空间中超现实地漂浮。尽管这些场景似乎源自想象，Wei Wei充满能量的大胆笔触和细腻层次的绘制手法，却让作品与现实紧密相连，游走在梦幻与真实的边界之间。
British painter Faye Wei Wei's bold, poetic works quiver with a lively, lyrical motion, combining classical poise with vibrant immediacy. Working on a large scale, Wei Wei conceives of the painting process as an intimate choreography between actual and pictorial space. Often revolving around spiritual iconography and classical myth, love rituals and the theatricality of gender, her works sometimes suggest the themes of particular mythic narratives, and at other moments seem to depart into a more ambiguous, interior space of incongruity and uncertainty. Stateliness coincides with brute force and pastel softness; symbols seem to shake free of their moorings and float, surrealistically, on the liquid expanse of dream. The scenes might be imagined, but the energetic, bold brushstrokes, executed in thin layers, suggest something actually witnessed, balanced on the edge of reality.
乔纳森·巴尔多克（Jonathan Baldock）1980年出生于英国肯特郡，现居伦敦。毕业于温彻斯特艺术学院，并获得绘画学士学位（2000-2003），随后在伦敦皇家艺术学院获得绘画硕士学位（2003-2005）。他的作品横跨多个领域，包括雕塑、装置和表演，常常以传记的形式呈现，讲述了我们与身体及其所在空间之间的关系所带来的创伤、压力、肉欲、死亡和灵性。巴尔多克一直对他作品中使用的陶瓷和织物材质的对比感兴趣。考虑到不同材料的功能方面，巴尔多克以一种表演的方式，通过他的雕塑组合，把观众、物体和他们同时占据的空间作为了一种仪式行为或戏剧。巴尔多克的作品通常采用传记形式，围绕着我们与身体及其所处空间的关系，讲述了创伤、压力、性感、死亡和灵性。作品中充满了幽默和机智，和一种离奇、令人毛骨悚然的品质。巴尔多克将观众、物品和他们所处空间作为一种戏剧或仪式的行为提出质疑，引发观众对于变化、衰老、悲伤和失落等议题的思考。
Born in Kent, UK, in 1980, Jonathan Baldock currently lives and works in London. He graduated with a BA in Painting from Winchester School of Art (2000-2003) and later received an MA in Painting from the Royal College of Art, London (2003-2005). Baldock's work spans sculpture, installation, and performance, often presented in a biographical form, addressing the trauma, stress, sensuality, death, and spirituality that arise from our relationship with the body and the space it inhabits. Baldock is particularly interested in the contrasting materials of ceramics and textiles in his work. Considering the functionality of different materials, he approaches his sculptural ensembles in a performative way, treating the audience, objects, and the space they simultaneously occupy as part of a ritualistic or theatrical act. Baldock’s work often takes a biographical form, focusing on the relationships between the body and its surrounding space, evoking themes of trauma, stress, sensuality, death, and spirituality. His pieces are imbued with humor, wit, and a bizarre, eerie quality. Baldock questions the audience’s perceptions of transformation, aging, grief, and loss by engaging them in the theatrical or ritualistic interaction of object and space.
布莱恩·卡尔文（Brian Calvin），早在1990年代便开始发展一种具象的、非叙事性的绘画风格。这些作品中以他的加州根源为背景的风景和肖像占据主导地位。是一位有影响力的当代美国画家。他的画以大规模、风格化的女性肖像而闻名，其特点是阳光普照的调色板和扁平的色平面，让人想起亚历克斯·卡茨或大卫·霍克尼。虽然这位艺术家解释说，他作品中的人物不是基于真实的人，但他将其描述为专门针对加州青年的。“尽管我画的人物完全是发明的，”他说，“我密切关注人们如何构建自己的身份，随着绘画的进步，这肯定会对他们产生影响。”他于1969年出生于加利福尼亚州维萨利亚，继续在加州大学伯克利分校学习，然后于1994年在芝加哥艺术学院获得文学硕士学位。他的作品可以在许多公共收藏品中找到，包括洛杉矶县艺术博物馆、波特兰艺术博物馆和艾希提基金会。Calvin在加利福尼亚州奥哈伊生活和工作。对主题的特写处理、高度构建的结构以及明亮的平涂色彩赋予这些大型绘画一种奇特的时间感。在观察他简洁画法的过程中，人们逐渐会发现他在表现某些细节时所展现出的抽象性。这些细节进一步揭示了他的作品的最终目的，重申了对绘画本身及其可能性的视觉反思的首要性。
Brian Calvin has been developing a figurative, non-narrative painting style since the 1990s, predominantly featuring landscapes and portraits influenced by his Californian roots. A leading contemporary American painter, Calvin is renowned for his large-scale, stylized female portraits, characterized by a sunlit palette and flat planes of color, reminiscent of artists like Alex Katz and David Hockney. While the artist explains that the figures in his work are not based on real people, he describes them as targeting California youth in particular. "Though the figures I paint are completely invented," Calvin says, "I pay close attention to how people construct their identity, which inevitably influences the characters as the painting progresses." Born in Visalia, California, in 1969, Calvin studied at the University of California, Berkeley, and earned an MFA from the School of the Art Institute of Chicago in 1994. His solo exhibitions have been held at notable venues such as Anton Kern Gallery in New York, Almine Rech Gallery in Paris, and Corvi-Mora in London. His works are part of several public collections, including the Los Angeles County Museum of Art, Portland Art Museum, and the Aishti Foundation. Calvin lives and works in Ojai, California. His close-up treatment of subjects, highly structured compositions, and bright flat colors lend his large paintings a unique sense of time. Over time, viewers will notice the abstraction in the details of his paintings, which further emphasize his visual reflection on the possibilities of painting itself.
边雄必（Byen Ung-Pil）的作品融合了东西方艺术传统，创造了一个独特的空间供人们反思和沉思。他的自画像系列开始于德国时期，是对身份认同和人类状况的深刻探索。Byen通过擦除和扭曲头发、眉毛和肤色等可识别特征，将这些肖像转化为近乎抽象的表现形式，挑战了观者对身份的既定观念。他的作品深入探讨了关于美与丑、以及塑造我们对他人看法的偏见的问题。通过剥离那些通常定义一个人身份的具体细节，Byen邀请观者直面自己的偏见。这种“去除”的手法不仅反映了东方艺术中“空无”与“缺失”可以和“存在”同等重要的理念，同时也成为观者投射自己故事和情感的镜子。Byen后来创作的非自画像系列继续了这一探索，通过进一步去除特定特征，强调了人类经验的普遍性。他的作品成为反思的画布，鼓励观者面对自己的内心世界，并思考他们在多大程度上真正摆脱了社会中无处不在的偏见和判断。
Byen’s work merges Eastern and Western artistic traditions, creating a unique space for reflection and contemplation. His self-portrait series, which began during his time in Germany, is a deep exploration of identity and the human condition. By erasing and distorting recognizable features such as hair, eyebrows, and skin tone, Byen transforms these portraits into near-abstract representations, challenging viewers' preconceptions of identity. His works delve into the issues of beauty and ugliness and the biases that shape our perceptions of others. By stripping away the specific details that usually define a person’s identity, Byen invites viewers to confront their own prejudices. This method of "removal" reflects the Eastern artistic concept of "emptiness" and "absence" being as important as "presence," while also becoming a mirror for viewers to project their own stories and emotions. Byen’s later series of non-self-portraits continues this exploration by further removing specific features, emphasizing the universality of human experience. His works become a canvas for introspection, encouraging viewers to face their inner world and reflect on the extent to which they have truly escaped the pervasive biases and judgments of society. Born in Jangheung, Korea, in 1970, Ung-Pil Byen lives and works in Ganghwa, Korea.
吴晶玉（Jade Ching-yuk Ng）是一位香港90后艺术家，她的作品主要围绕重构的具象人物进行创作，包括绘画和木刻作品。她的艺术探索深入性别矛盾、身份认知的复杂性以及普遍性之外的生活经验。吴晶玉的创作特别关注于女性“自我”的经验，试图拉开与宏大叙事的距离，驻足流连于个体生命的丰沛体察。她的作品中巧妙运用物体的错配和潜移默化的匀质迭变，通过画面剪影、物和人体的折叠与交融，展现出女性力量与纯真之间的较量与共存。吴晶玉的艺术表达在探索灵魂与躯体二元生命观的同时，也包括了超越生死的梦幻情境，以及作为多重自我表达的可能性。吴晶玉的艺术实践挑战了过去的身份定义，展现出个体身份的无界限自由。她的创作在全球化语境下展现了“超文化”身份的探索，质疑身份的真实性，并指向了悬而未决的自我经验。
Jade Ching-yuk Ng is a post-90s artist from Hong Kong whose work primarily revolves around reimagined figurative subjects, encompassing both paintings and woodcut pieces. Her artistic exploration delves into gender conflicts, the complexities of identity recognition, and experiences that lie outside of universal norms. Ng’s creations focus particularly on the experiences of the female “self,” seeking to distance themselves from grand narratives, instead lingering on the rich and nuanced observations of individual lives. In her work, Ng skillfully employs mismatched objects and subtle, uniform transformations, using silhouettes, and the folding and blending of objects and human bodies, to showcase the interplay and coexistence between female strength and innocence. Her artistic expression, while exploring the dualistic view of life between soul and body, also encompasses dreamlike scenarios that transcend life and death, and presents possibilities for the expression of multiple selves. Ng’s artistic practice challenges past definitions of identity, revealing the boundless freedom of individual identity. Her creations, within the context of globalization, explore the notion of “transcultural” identity, questioning the authenticity of identity and pointing towards unresolved self-experiences.
朴星沃（Park Sungok）探索寻找自己真正的整体性。她的作品中描绘女孩是艺术家身份和自我的投射。作家试图理解和想象真实的自我。每次她遇到自我时，她自问那是被修改后的另一个自我或没被涂上颜色的自我。创作的过程被作家看作是一种冥想。她说，”我的艺术是 耗时的工作。用2-3毫米铅笔反复划线，完成轮廓和形象。这对我是一种冥想练习。”作家首先勾勒出少女的脸，把它放在一个位置上，并置物 体以完成另一个自我版本。微妙的色调和梦幻般的质量与观众产生共鸣。
Park Sungok’s art explores the search for true wholeness. The girls depicted in her work are projections of the artist’s identity and self. Park seeks to understand and imagine the real self. Each time she encounters the self, she asks whether it is a modified version or the uncolored self. The creative process, according to Park, is a form of meditation. “My art is labor-intensive work,” she says. “I repeatedly draw lines with a 2-3mm pencil to complete outlines and forms. This is a meditative practice for me.” Park’s works feature girls eating, sleeping, and feeling, functioning as a playful yet intimate observation of their world. Using intricate black and white illustrations with occasional colorful accents, her art captures a world that resonates with the viewers on a subtle, emotional level. Park has exhibited her work extensively across Korea and China. She describes her artistic process as a form of Zen meditation, reaching a state of mindfulness through hundreds of fine lines. Her work invites viewers into this meditative space, creating a quiet yet powerful resonance.
弗里达·万纳伯格（Frida Wannerberger），1989年出生于瑞典，现居伦敦。2011-2013英国中央圣马丁平面设计文学学士，2022-2023英国皇家艺术学院绘画硕士。弗里达·万纳伯格作品的核心是探索力量与脆弱之间的关系，她善于将时尚中的服饰作为女性们表达自我、认同身份和寄托梦幻的方式。近期的展览包括：阿弗洛狄忒的絮语，JW Projects，新加坡，新加坡；顽偶之家，EYECANDIES 眼糖 × 逵园艺术馆，上海，中国，2023；群展“光的痕迹”，当代唐人艺术中心，北京，2023；个展“Take Me, I’m Yours”，Haricot画廊，伦敦，2023；群展“Look Mum No Hands”，伦敦，2023；皇家艺术学院群展，伦敦，2023；个展“Frida Wannerberger x Pringle of Scotland”，伦敦，2022。
Frida Wannerberger, born in Sweden in 1989, currently resides in London. She holds a BA in Graphic Design from Central Saint Martins (2011-2013) and an MA in Painting from the Royal College of Art (2022-2023). At the core of Frida Wannerberger's work is an exploration of the relationship between strength and vulnerability. She uses fashion as a medium through which women express themselves, assert their identity, and fulfill their fantasies.
英国艺术家罗斯·怀利（Rose Wylie）OBE大英帝国勋章获得者，b. 1934。Rose Wylie绘画乍看之下极其简单，似乎与任何艺术风格或流派无关，但细究之后会让人感受到艺术家针对视觉表征之本质的精心观察和细腻沉思。她的工作室地板上堆叠着各类报章杂志。对于喜欢在绘画时偶遇图像的艺术家而言，这些是她日常创作的丰富素材。怀利还广泛地从电影、时尚摄影、文学、神话、新闻图片、体育、生活中遇到的人们身上汲取灵感，创作出色彩丰富又充满活力的绘画。她的作品充分发挥独特的视觉语汇、卡通形象的率真和平直的透视，同时流露出对艺术史及绘画传统深刻的反叛意味。怀利年轻时曾就读于英国肯特郡的福克斯通与多佛艺术学院，45岁时重返艺术学校，并在于1981年毕业于伦敦皇家艺术学院。现年85岁的怀利丝毫不减创作热情与展览频率。她的作品曾亮相第56届威尼斯双年展（2015）。她已三度参展伦敦绘画双年展（2015、2011、2009），还曾身为唯一非美国籍的艺术家参加了美国国家女性艺术博物馆的大型群展《值得瞩目的女性》（2010），并被当时的《卫报》评为”英国最炙手可热的艺术家“。
Rose Wylie, OBE (b. 1934), is a British artist whose paintings, at first glance, appear exceedingly simple and seemingly unrelated to any specific art style or movement. However, a closer look reveals the artist’s meticulous observation and thoughtful contemplation on the nature of visual representation. Her studio floor is often scattered with various newspapers and magazines, which serve as rich sources of inspiration for her daily creative process, as Wylie enjoys the serendipity of encountering images while painting. She also draws extensively from films, fashion photography, literature, mythology, news images, sports, and people she encounters in life, creating vibrant, colorful works filled with energy. Her paintings employ a unique visual language, characterized by the spontaneity of cartoon-like figures and a straightforward perspective, while also exuding a deep rebellion against art history and painting traditions. Wylie studied at the Folkestone and Dover School of Art in Kent during her youth and returned to art school at the age of 45, graduating from the Royal College of Art in London in 1981. Now 85 years old, she continues to create prolifically and exhibit frequently. Her works were featured in the 56th Venice Biennale (2015) and she has participated in the London Painting Biennial three times (2015, 2011, 2009). She was also the only non-American artist to participate in the major group exhibition *Notable Women* at the National Museum of Women in the Arts in the U.S. (2010), and was hailed by *The Guardian* at the time as “Britain’s hottest artist.”
