【Exhibition Tour | 导览】 作品《群居 Gregarious》
工作室画廊_画廊空间的全新展览《制作》已于8月18日拉开帷幕，并持续到9月16日结束。此次展览将呈现艺术家顾建在过去十年间最为主要的几件绘画创作。
为了方便观众更好地了解展出的作品，我们特地邀请艺术家本人对展览中的每件作品进行单独地介绍。在接下来的一周，我们将每天介绍一件作品给到大家。
Studio Gallery's new exhibition "Making" - Gu Jian's solo show unveiled on August 18th. This exhibition presents the most important paintings of the artist in the past 10 years, and itwill last till September 16th, 2018.
In order to pass on more details to our audience, we invited artist to make some narration to each artwork in our project space. In the coming week, we will introduce you a piece of work on show everyday.
今日作品 | Artwork of the day
这个画是我09年开始画的，2017年结束。这张画与我在北京生活有关联。之前在北京生活，住在地下室，像老鼠一样生活，老是看不见光，在里面生活了很久。画这张画的时候已经离开北京，在成都自己家里创作的。一开始是比较写实的。对（参照）着一堆红薯画的,画的是一群写实的老鼠。但是后来发现一个很重要的问题。就是说，画成红薯也不对，画成老鼠也不对。后来就用松香水，重新洗过一遍。只留了很深的一层底，这个旁边就是很深的一层底。在这个底上面，一步一步画到今天这个位置（样子）。
This painting was started in 2009 and finished in 2017.It’s related to my life in Beijing. There, I lived in a basement without any sunlight just like a mouse for a long time. When this painting was painted, I’ve left Beijing and lived in my own house in Chengdu. At first, it was more realistic. Several mice were painted in realism as a bunch of sweet potatoes being the reference. But then I found a very important problem. That is, it was neither right to draw them as sweet potatoes nor as mice. So, they were washed by rosin water, leaving only a base layer in deep color. The surrounding area in deep color is the base layer. On that, step by step, the painting was finished.
红薯和老鼠有什么区别:对于我个人而言。老鼠比红薯（的意义）还要大那么一点点。因为第一，我本来属老鼠；第二，我感觉我的生活有点类似老鼠的生活，成天看不见太阳。而红薯它在地里，不停往上生长，它是个积极向上的概念、所以我一开始本身是画红薯。而没有想画老鼠的根本原因是因为老鼠有一定的龌龊性。在我骨子里还是比较积极向上的，乐观的。我认为画画是自我内心的一个消遣。这个内心的消遣就是我画画很快乐。我想把这个快乐传递给大家，不希望把悲伤传递给大家。
What is the difference between sweet potato and mouse. For me personally, (the meaning of) mouse is a bit deeper than the sweet potato. Because first, I was originally a mouse (year of birth); second, I feel that my life is kind of like the life of a mouse, living without the sunlight all day long. Meanwhile, the sweet potato is in the ground and keeps growing up, which represents a positive concept. That’s why I started as sweet potato. The fundamental cause of not wanting to draw a mouse is that the mouse has some ambiguity. Deep inside, I’m still positive and optimistic. Painting for me is an amusement for my heart. This inner amusement is the happiness I got while drawing. It is the happiness that I want to pass to everyone, not grief.
在画这个画的时候，其实它出现过三道痕迹。第一道痕迹是一整张蓝色。大面积的蓝色是类似海洋色的钴蓝。然后在钴蓝里，就添加了群青和黑色，但是加的时候到后期刻意地用松香水又洗掉了。这个地方加了绿色就偏普兰的颜色，因为普兰的颜色相对比较深，相对更融合，更成立。
When I painted this painting, there were actually three traces. For the first one, total blue. This large area of blue is the cobalt blue, being similar to the color of ocean. Then, in the cobalt blue, the ultramarine and black were added. However, while adding, I washed them away with rosin again. At last, green, which is similar to Prussian blue was added to this part because the color of Prussian blue was relatively deep, adding it was more integrated and accurate.
但是我发现究竟要画什么还不知道。所以说，我就把松香水倒到布上以后，产生了第一个想法，我想要画什么的想法。（第二遍）画面一开始的时候是乌漆麻黑的一片，这上面是还是最开始画的一群老鼠，还是红色的。但洗出来之后，什么都没有了。自从那时候开始，有意识地把构图放在一边，抛弃了已有的观念。先有构图，再构思，才能画出画来。从这个时候才抛弃了这样的观念。先有了这个底，之后才有了要画这个东西的想法。但是并不是完整的想法，只是画了一个。当有了这一个就想要画一堆。也顺着把这一堆画出来了。
But still, I have no idea what I was going to paint. When the rosin water was poured onto the canvas, the first thought came up, which was what I want to paint. At the beginning of (the second layer), the color was totally deep. There was still a group of mice that I originally painted, in red. But after washing them with rosin water, nothing was left. Since then, I abandoned the existing idea and consciously put the composition aside. “You can paint a painting only by composing first, then conceiving it”. It was only from that time that this concept was abandoned by me. I made this base layer before the idea of what to painting came up. But it was not a matured idea too, I just drew one mouse. After that first one, a bunch was wanted. So I painted them along.
这一堆没画完之前呢，那上面还全是蓝色。我觉得这一堆和整个空间出了问题。（第三遍）才出现我们中间看到的白色，是刻意地再洗过一道。又专门拿盐酸，加了一点点汽油，加了松香水又重新洗了一道。把原本很厚很厚的油画颜料几乎全部洗掉了。上面还残留一些裂纹。也就是说，这张画之所会产生，是很偶然的。我觉得与自己的处境有一定的关联。
Before the bunch of mice was finished, it was all blue. I felt that there was a problem between this part and the whole space. The white that we see in the middle just appeared (in the third layer). It was deliberately washed. Specially, I took hydrochloric acid with a little bit of gasoline and rosin water to wash it. Almost all of the thick oil paints was washed away remaining only some cracks. In other words, it is very accidental that this painting was made. I feel that there lies a certain connection between my situation and this painting.
文 / 工作室画廊（顾建访谈) Text by StudioGallery (Interview with GuJian) 译 / 董凡超 Translated by Dong Fanchao 作品拍摄 / 王智乾 Photographed by Wang Zhiqian
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