SMS to Song
(山水相逢至宋)
7th. solo exhibition
2023
2023
Come closer and you can see 1
200cm x 225cm -triptych
(each panel 200cm x 75cm)
Chinese ink and Acrylic on canvas
2023
200cm x 225cm -triptych
(each panel 200cm x 75cm)
Chinese ink and Acrylic on canvas
2023
Come closer and you can see 2
75cm x 200cm
Chinese ink and Acrylic on canvas
2023
75cm x 200cm
Chinese ink and Acrylic on canvas
2023
Come closer and you can see 3
75cm x 200cm
Chinese ink and Acrylic on canvas
2023
75cm x 200cm
Chinese ink and Acrylic on canvas
2023
SMS 1
120cm x 69cm (scroll)
Chinese ink on xuan paper
2022
120cm x 69cm (scroll)
Chinese ink on xuan paper
2022
SMS 2
120cm x 69cm (scroll)
Chinese ink on xuan paper
2022
120cm x 69cm (scroll)
Chinese ink on xuan paper
2022
SMS 3
120cm x 69cm (scroll)
Chinese ink on xuan paper
2022
120cm x 69cm (scroll)
Chinese ink on xuan paper
2022
SMS 4
120cm x 69cm (scroll)
Chinese ink on xuan paper
2022
120cm x 69cm (scroll)
Chinese ink on xuan paper
2022
SMS 5
120cm x 69cm (scroll)
Chinese ink on xuan paper
2022
120cm x 69cm (scroll)
Chinese ink on xuan paper
2022
SMS 6
136cm x 68cm (scroll)
Chinese ink on xuan paper
2022
136cm x 68cm (scroll)
Chinese ink on xuan paper
2022
SMS 7
136cm x 68cm (scroll)
Chinese ink on xuan paper
2022
136cm x 68cm (scroll)
Chinese ink on xuan paper
2022
SMS to Song 山水相逢至宋
7th. solo exhibition (2023)
SMS to Song is my recent series, and the meaning of the title is: "Shan Met Shui to Song Dynasty". And the Song mentioned here more accurately will be: Song (960-1279) Landscape Painting.
Since 2019 my works have move on to a new stage, instead of clearly depicted I concentrate more on the flow of the landscape and the mysterious shape behind them, which I call this process as "the crystallization of my subconscious", and this is not a deliberately process, as I said the essence of oriental and Chinese philosophy is always on my mind so these works apparently reflect my mind state.
In the "Musang’s Words" series, I explored a lot on Yin-Yang, heaven and earth, real and virtual, black and white, expanding and contracting, and the most represented works in this direction were the works from "Shan Met Shui" series.
"Shan Met Shui" (山水相逢mountains and water met), it is to probe into the subject form and their existing meaning, one is about mountains and the other is water, and when I combine these two different elements together, they can blend together without any sense of conflict. The flow of water and the flow of mountains has made the picture in oneness; this is the way of natural tendency, all living things thrive without harming each other, and all paths run parallel without running against each other, and this is an authentic depiction of "you have me in you, I have you in me".
This new Shan Met Shui series the mountains (shan) occupy most of the space in the works, this is similarity to monumental landscape painting of Song (宋巨碑式山水画).
In this series the mountains were arranged in an upright and upside down position, this combination makes the mountains look huge and like a mirage, I am creating my works at the same time I salute to the great master of history, so to me it was like a mirage.
And the water (shui) this time I depict them without contour, instead of using line I use a lot of water to make them existing in the works, especially the last 4 works, at the end water had became one of the medium that I use, and this accidentally found method have perfectly shows the existent of water.
"Come closer and you can see" is a triptych work, it content 3 of the Song Dynasty representative works, Fan Kuan's "Travelers Among Mountains and Streams" (范寬, 谿山行旅圖), Guo Xi's "Early Spring" (郭熙, 早春圖) and Li T'ang's "Windy Pines Among a Myriad Valleys" (李唐, 萬壑松風圖). These 3 works they are all very important monumental landscape painting of Song (宋巨碑式山水画).
About these 3 works I don't have to descript to detail as there are so many deep description articles on the internet, what I am concerned about is from these 3 works what I have seen and learned, I will say it is an attitude of appreciating landscape. From these 3 works it is quite easy to noticed that the angle of these works it is not logic, from a normal human vision you cannot see different angle at the same time, there are multiple focus point in these works, and during that era why they painted this way, don't think it too complex, they are portraying with their own personal touch after years of nature observation, this is free oneself from formal constraints and the works become more vivid, this reminds me of a words from film director King Hu (胡金铨): "Western art is to imitate nature, but Chinese art is to experience nature and express what you want in your heart through painting". And now what I have seen and learned is the spiritual meaning of landscape painting.
"Come closer and you can see" this title it is a words that I tell myself, when I was young when I saw this "Chinese style of shan shui painting", I always wonder why they all look the same, they are so uninteresting to me, but after my life have past more than a half century, finally now I just arrive at it's doorway and begin to enter to the realm of this magnificent mountains, it is not merely a "Chinese style of shan shui painting", there are countless paths of life, regardless of the geographical distance, regardless of the time, as long as we have the courage to open the door, there will always be a path on which we will have wonderful collisions and encounters.
Chen Wei Meng 2023
山水相逢至宋 SMS to Song
第七次个展 (2023)
山水相逢至宋是我最近的一个系列，标题的意思是"从山水相逢至宋"，而这里提到的宋朝更准确的说是: 宋代山水画。
2019年开始，我的作品进入了一个新的阶段，不再是清晰的描绘，而是更专注于画面的流动和风景背后神秘的形状，我把这个过程称之为“潜意识的结晶”，这不是 一个刻意的过程，正如我所说，东方和中国哲学的精髓一直都在我的脑海中，所以这些作品明显地反映了我的精神状态。
在“望生之话”系列中，我对阴阳、天地、虚实、黑白、扩张与收缩等进行了大量的探索，关于这一方向的探索，最具代表性的作品就是“山水相逢”系列的作品。 “山水相逢”（Shan Met Shui），就是探讨主题的形式及它们存在的意义，一个是关于山，一个是关于水，当我把这两种不同的元素结合在一起时，它们可以融合在一起，毫无冲突感。水的流动和山的流动使画面浑然一体，这就是顺其自然之道，万物兴盛而不相害，万物平行而不相争，这也就是“你中有我，我中有你”的真实写照。
在这新的“山水相逢”系列里，山占据了作品的大部分空间，这与宋巨碑式山水画有相似之处。 这个系列中的山被安排在一个直立和倒置的位置，这样的组合使山看起来巨大又像海市蜃楼，这是我在创作我的作品的同时向历史中伟大的大师们致敬，所以对我来说是这个关系就像是海市蜃楼。
而水这一次我没有使用轮廓线来描绘它们，而是使用了大量的水来让它们存在于作品中，尤其是后面的作品，最后水成了我使用的创作媒介之一 ，而这个偶然发现的方法完美地展示了水的存在。
三联画 "走近一点，你会看到 1"，它包含了宋代代表作品中的三幅，有范宽的 “溪山行旅图”、郭熙的 “早春图”和李唐的 “万壑松风图”。 这三幅作品都是宋巨碑式山水画中非常重要的代表作品。 这三部作品我就不多详细描述，网上有太多关于这三幅作品的深度描述文章，我更关心的是我在这三部作品中看到什么以及领悟了什么，我会说是一种欣赏风景的态度。 从这三幅作品中不难发现这些作品里的角度是不合逻辑的，从一个普通人类的视觉是不可能同时看到不同角度的，这些作品中有多个焦点，而在那个时代为什么他们这样画，别想得太复杂，他们是经过多年的自然观察后，在以个人触觉来描绘，这样就摆脱了形式的束缚，使作品变得更加生动，这让我想起了电影导演胡金铨的一句话 ：
“西方的艺术是模仿自然，而中国的艺术是体验自然，通过绘画表达心中所想”。
而现在问我在这三部作品中看到什么以及领悟了什么，我会说是山水画的精神意蕴。
"走近一点，你会看到" 这个标题其实是我对自己说的话，当我年轻的时候当我看到这样的 “中国山水画”时，我总觉得它们看起来怎么都一样的，那时候对我来说它们是如此的无趣，但在我的生命跨过了半个多世纪之后，终于现在来到了它的门口，才开始进入了这宏伟山峦的境界里，它不仅仅是一幅“中国山水画”，还有人生的无数条路，不分地域远近，不分时间，只要我们勇于推开那扇门，总会有一条路，让我们有精彩的碰撞与邂逅。
陈伟明 2023
7th. solo exhibition (2023)
SMS to Song is my recent series, and the meaning of the title is: "Shan Met Shui to Song Dynasty". And the Song mentioned here more accurately will be: Song (960-1279) Landscape Painting.
Since 2019 my works have move on to a new stage, instead of clearly depicted I concentrate more on the flow of the landscape and the mysterious shape behind them, which I call this process as "the crystallization of my subconscious", and this is not a deliberately process, as I said the essence of oriental and Chinese philosophy is always on my mind so these works apparently reflect my mind state.
In the "Musang’s Words" series, I explored a lot on Yin-Yang, heaven and earth, real and virtual, black and white, expanding and contracting, and the most represented works in this direction were the works from "Shan Met Shui" series.
"Shan Met Shui" (山水相逢mountains and water met), it is to probe into the subject form and their existing meaning, one is about mountains and the other is water, and when I combine these two different elements together, they can blend together without any sense of conflict. The flow of water and the flow of mountains has made the picture in oneness; this is the way of natural tendency, all living things thrive without harming each other, and all paths run parallel without running against each other, and this is an authentic depiction of "you have me in you, I have you in me".
This new Shan Met Shui series the mountains (shan) occupy most of the space in the works, this is similarity to monumental landscape painting of Song (宋巨碑式山水画).
In this series the mountains were arranged in an upright and upside down position, this combination makes the mountains look huge and like a mirage, I am creating my works at the same time I salute to the great master of history, so to me it was like a mirage.
And the water (shui) this time I depict them without contour, instead of using line I use a lot of water to make them existing in the works, especially the last 4 works, at the end water had became one of the medium that I use, and this accidentally found method have perfectly shows the existent of water.
"Come closer and you can see" is a triptych work, it content 3 of the Song Dynasty representative works, Fan Kuan's "Travelers Among Mountains and Streams" (范寬, 谿山行旅圖), Guo Xi's "Early Spring" (郭熙, 早春圖) and Li T'ang's "Windy Pines Among a Myriad Valleys" (李唐, 萬壑松風圖). These 3 works they are all very important monumental landscape painting of Song (宋巨碑式山水画).
About these 3 works I don't have to descript to detail as there are so many deep description articles on the internet, what I am concerned about is from these 3 works what I have seen and learned, I will say it is an attitude of appreciating landscape. From these 3 works it is quite easy to noticed that the angle of these works it is not logic, from a normal human vision you cannot see different angle at the same time, there are multiple focus point in these works, and during that era why they painted this way, don't think it too complex, they are portraying with their own personal touch after years of nature observation, this is free oneself from formal constraints and the works become more vivid, this reminds me of a words from film director King Hu (胡金铨): "Western art is to imitate nature, but Chinese art is to experience nature and express what you want in your heart through painting". And now what I have seen and learned is the spiritual meaning of landscape painting.
"Come closer and you can see" this title it is a words that I tell myself, when I was young when I saw this "Chinese style of shan shui painting", I always wonder why they all look the same, they are so uninteresting to me, but after my life have past more than a half century, finally now I just arrive at it's doorway and begin to enter to the realm of this magnificent mountains, it is not merely a "Chinese style of shan shui painting", there are countless paths of life, regardless of the geographical distance, regardless of the time, as long as we have the courage to open the door, there will always be a path on which we will have wonderful collisions and encounters.
Chen Wei Meng 2023
山水相逢至宋 SMS to Song
第七次个展 (2023)
山水相逢至宋是我最近的一个系列，标题的意思是"从山水相逢至宋"，而这里提到的宋朝更准确的说是: 宋代山水画。
2019年开始，我的作品进入了一个新的阶段，不再是清晰的描绘，而是更专注于画面的流动和风景背后神秘的形状，我把这个过程称之为“潜意识的结晶”，这不是 一个刻意的过程，正如我所说，东方和中国哲学的精髓一直都在我的脑海中，所以这些作品明显地反映了我的精神状态。
在“望生之话”系列中，我对阴阳、天地、虚实、黑白、扩张与收缩等进行了大量的探索，关于这一方向的探索，最具代表性的作品就是“山水相逢”系列的作品。 “山水相逢”（Shan Met Shui），就是探讨主题的形式及它们存在的意义，一个是关于山，一个是关于水，当我把这两种不同的元素结合在一起时，它们可以融合在一起，毫无冲突感。水的流动和山的流动使画面浑然一体，这就是顺其自然之道，万物兴盛而不相害，万物平行而不相争，这也就是“你中有我，我中有你”的真实写照。
在这新的“山水相逢”系列里，山占据了作品的大部分空间，这与宋巨碑式山水画有相似之处。 这个系列中的山被安排在一个直立和倒置的位置，这样的组合使山看起来巨大又像海市蜃楼，这是我在创作我的作品的同时向历史中伟大的大师们致敬，所以对我来说是这个关系就像是海市蜃楼。
而水这一次我没有使用轮廓线来描绘它们，而是使用了大量的水来让它们存在于作品中，尤其是后面的作品，最后水成了我使用的创作媒介之一 ，而这个偶然发现的方法完美地展示了水的存在。
三联画 "走近一点，你会看到 1"，它包含了宋代代表作品中的三幅，有范宽的 “溪山行旅图”、郭熙的 “早春图”和李唐的 “万壑松风图”。 这三幅作品都是宋巨碑式山水画中非常重要的代表作品。 这三部作品我就不多详细描述，网上有太多关于这三幅作品的深度描述文章，我更关心的是我在这三部作品中看到什么以及领悟了什么，我会说是一种欣赏风景的态度。 从这三幅作品中不难发现这些作品里的角度是不合逻辑的，从一个普通人类的视觉是不可能同时看到不同角度的，这些作品中有多个焦点，而在那个时代为什么他们这样画，别想得太复杂，他们是经过多年的自然观察后，在以个人触觉来描绘，这样就摆脱了形式的束缚，使作品变得更加生动，这让我想起了电影导演胡金铨的一句话 ：
“西方的艺术是模仿自然，而中国的艺术是体验自然，通过绘画表达心中所想”。
而现在问我在这三部作品中看到什么以及领悟了什么，我会说是山水画的精神意蕴。
"走近一点，你会看到" 这个标题其实是我对自己说的话，当我年轻的时候当我看到这样的 “中国山水画”时，我总觉得它们看起来怎么都一样的，那时候对我来说它们是如此的无趣，但在我的生命跨过了半个多世纪之后，终于现在来到了它的门口，才开始进入了这宏伟山峦的境界里，它不仅仅是一幅“中国山水画”，还有人生的无数条路，不分地域远近，不分时间，只要我们勇于推开那扇门，总会有一条路，让我们有精彩的碰撞与邂逅。
陈伟明 2023
Essay and video from Wei-Ling Gallery:
Essay: Brushing Harmony: The Alluring Syncretism Between Man and Nature
Written by Amanda Ariawan | Edited by Valencia Winata
weiling-gallery.com/gallery/wp-content/uploads/2023/04/Chen-Wei-Meng-Essay-Final.pdf
(Artist) Wei-Ling Gallery
www.youtube.com/watch?v=40ZLWcCNziE
Essay: Brushing Harmony: The Alluring Syncretism Between Man and Nature
Written by Amanda Ariawan | Edited by Valencia Winata
weiling-gallery.com/gallery/wp-content/uploads/2023/04/Chen-Wei-Meng-Essay-Final.pdf
(Artist) Wei-Ling Gallery
www.youtube.com/watch?v=40ZLWcCNziE