开幕酒会： 2007年10月20日下午4点
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Gate No.2.798 factory,Jiuxianqiao Road,Chaoyang Dst.Beijing,China.100015
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在尹朝阳的早期作品中，对人作为一个个体的存在状态的描写是艺术家的关注焦点，源于青春期的迷茫 、 焦躁 、 彷徨 、 不安和内心的痛苦挣扎，它们表现为《青春残酷》系列里的一个个脆弱的形象：或是孤独无助，或是歇斯底里，或是百无聊赖。他们通常以单个的 形式出现，迫使观者与他们直面相对，无所遁逃。但从《天安门》系列开始，没有个性和具体面目的人群出现在了画面上，但那些人群被放置在特定的文化环境中，变成了符号化的陪衬，退缩为了一种背景。
最近的一系列作品虽然也是关于人群，但以往画面中的具体的文化背景符号和社会景观消失不见了，取而代之的是大片的抽象的风景，风景之中是黑压压的人群， 他们看上去就像是密密麻麻的蝼蚁，不知从哪里来，也不知要往何处去。他们没有历史，没有身份，他们代表的是普遍的人群。庄严与崇高的感觉在这里被一种压抑眩晕的和不可知的恐惧感所替代。画面中的背景部分更为厚重，用颜料堆积起来，形成一种粗砺的肌理效果，暗沉的表面吸收了一切的光线，似乎蕴含着神秘的力量；而人物的部分则画得较为透明和轻薄，形成一种视觉上的力量反差。艺术家对于油画技法和语言的准确把握与深刻理解在这里得以充分地体现。
除了架上绘画，尹朝阳最近也开始运用其它的媒介和手段去开拓和丰富自己的视觉艺术语言，在 10 月于北京当代唐人艺术中心举办的艺� 跫业男伦鞲稣估铮氤叽缇薮蟮挠突髌废嗪粲Φ氖钦季萏迫丝占渲行奈恢玫募父龃笮偷淖爸米髌贰Ｕ庑┳髌芬跃薮蟮氖范哑龆桑渲幸桓鏊柿⒍鸶叽�4.5 米 ，让人联想到高塔的形状，石头上斧挫出几百个小人，布满了石头的表面，看上去正试图向着最高的部分攀援。一束强光从高高的天花板上倾泻而下，似乎是来自宇宙深处的神的启示，打在了石头堆成的高塔的顶部，在光线的暴露下，那些混乱的人群似乎是来自石头的黑暗的缝隙里，彼此倾轧，绝望地挣扎。从艺术语言上说，这实际上是他过去作品中的绘画元素的延续和拓展，同时也是他一贯的艺术理想和心理图形的视觉表达，并且从前一阶段的带有符号性的图式转向了更为纯粹的图像形式语言与心理结构转换关系的探讨。
尹朝阳的作品流露出他个人对于人性的一种怀疑主义的态度，以及对于生命的荒谬感的存在主义式的质问，它基于艺术家的主观经验 、 对于社会的观察和生命成长过程中的集体和个人的记忆，这些因素交织在一起，共同组成了艺术家的世界观和心理模式，它们最终以一种视觉的方式呈现。
Yin Zhaoyang's work is always about people, from his "Cruel Youth" series and "Myth" series, to the recent new work, the central element in the work is man: single man, group people, abstract human, idiographic person and mythologized figure. Landscape in his painting functions merely as the background for human figures, s ometime there is even no landscape at all in the image of his work, only human figures are left with empty space on the canvas, people will easily get the sense of loneliness and absurdity expressed throughout the image.
His recent series are also covered with massive crowds, however, the previous dominant cultural symbols and identical social landscapes dissapeared in the painting and are displaced with abstract background. The crowds in the images look like numourous ants, they appear with such a deg ree of insignificance, coming from nowhere and going nowhere.They are the people without history and identity, they represent the basic concept of human. The background of the image is constructed with heavy paint of dark colour and coarse texture, seems could assimilating all the light, containing mystical power, contrasting with the tiny and fragile human figures.
Besides painting, Yin Zhaoyang also started to explore the other art medias and genre to create a new visual language by hybrid his established style with new materials and techiniques. From 20 th of October to 16 th of November, the artist will have a solo exhibition of his new works in Tang Contemporary Art Beijing space. In the exhibition, several huge installation works will occupy the central space of the art centre, those stone carved sculptures are of hundreds of small human figures, thus create a dialogue between the big scale paintings hunging on the wal l surrounded and the stone installations and sculptures in the middle. By appreciating these new works, the audience will see a continuity in terms of ideas and philosophy behind the visual form, and meanwhile also the transformation from the previous symbolic image and cultural sign to the more profund exploration of the relationship between iconography and human psychological structure.
