自然的回聲
The acrylic and ink based works of Feng Kai Lan may indicate an inclination towards the deconstruction of calligraphic aesthetics and practice, while the strong graphic quality insists that one speculates further upon a contemporaneous trajectory of the artist. Varying from organic fluidity to geometric morph, the renderings suggest an engagement in the paradoxical pursuit of an artery which dissevers contemporary and traditional leitmotif.
The primacy of singular fields of colour, acting to suspend the visual fore of dense linear intricacy, empower her compositions and allow an evolution of intense explorations within the potential of a successful fusion of abstract colourism and quasi-graphism, while yet visually enhanced in spatial context.
The question as to whether the works qualify as either calligraphic expressionism or act as predominant abstract colourist experimentation is negated by the demarcation of a pronounced individual discourse. The distinct quality adheres to neither art historical determinant nor predisposition of art historico imperative. The greater aesthetic transmutation of colour and line are latent within the asymmetrical impact of her work. Hence, rather than an optical technique possessed by either predetermined “aesthetic” (as might belong to the academic elite vocabulary) as to what constitutes the contemporaneous in art, herein the artist divulges a non-dualism in leitmotif which transcends the intellect and returns to an effluvium akin to nature.
R. A. Suri
Xian, PRC
2016/11/23
馮開蘭的丙烯與水墨作品透露出針對書法美學(xué)與創(chuàng)作的解構(gòu)意向，然而這些作品鮮明的圖像個性又催使觀者就藝術(shù)家的現(xiàn)實發(fā)展軌跡展開深思。從自然暢快的流動呈現(xiàn)到幾何圖形式的變奏拼貼，這些不同的手法顯示出與某種悖論式追求的暗相契符，而其追求的道路正切斷了當代兼或傳統(tǒng)的主流風(fēng)格。
以鮮亮的色譜濃施重抹，意在懸置前景中由稠密而復(fù)雜的線條帶來的視覺觀感，使構(gòu)圖更為有力，并且為觀者發(fā)起一種逐步而細密的探索提供條件,這種探索針對的是抽象色彩主義與準圖形主義成功嫁接的潛在可能，此外這也增強了空間語境上的視覺效果。
至于這些作品究竟是書法表現(xiàn)主義還是主流抽象色彩主義實驗這一提問方式,則被明顯的個人話語標志否定了。這一鮮明品格既不皈依藝術(shù)史敘事的決定性因素，也不具有藝術(shù)史觀念的傾向。色彩與線條的更為劇烈的美學(xué)突變蟄伏在她作品的不對稱力量中。因此，這里存在的不僅僅是先定“美學(xué)”所涵蓋的視覺技巧（這也許屬于學(xué)院派精英的語匯）,這一美學(xué)形成了藝術(shù)的當代景觀，此處藝術(shù)家在主題中透露的是一種去-二元論，繼而回歸到與自然狀態(tài)相似的大音無聲。
R. A. Suri
Xian, PRC
2016/11/23
