去過很多次倪志琪教授的工作室，每一次的感覺都是如此靜謐、整潔和光亮。撲鼻而來的淡淡咖啡香氛伴著典雅的輕音樂，高大寬敞的窗戶讓冬天的陽光淋漓地照射在畫布上。他常會笑著問一句：“喝茶還是咖啡？”然后親手為客人泡上每一杯。隔窗而望的是瞬息萬變、孕育百年的外灘和黃浦江。相比窗外的喧囂，室內(nèi)的氛圍更顯舒緩。各種畫幅的作品和創(chuàng)作材料充滿著工作室的角角落落，地板、墻面和家俱陳設(shè)，無一處不顯露著藝術(shù)家的個性和才華。

The fragrance of coffee accompanied by music; Tall, large windows allow the winter sun to shine on the canvas, make Professor Ni’s studio full of the feelings of peaceful and light.  He often smiled and asked: 'coffee or tea?' And then personally brew each cup for the guests. Looking across the window, the Bund and the Huangpu River which breeding a century of colorful history lies out side of the studio. Compared to the noise outside, the indoor atmosphere more soothing. The works and creative materials are full of studio corner, floor, wall and furniture, none of which show the artist's personality and talent.

熱愛旅行的倪志琪說：“旅行對于一個人來說是很好的學習方式，幫助你觀看了解這個世界?！贝蜷_進入世界的眼光，他因此越走越遠。出發(fā)是為了更好的回歸，早期以超現(xiàn)實主義和立體主義的繪畫在85美術(shù)運動中嶄露頭角的倪志琪，期待以西方的現(xiàn)代哲學和先鋒派藝術(shù)為背景，實現(xiàn)藝術(shù)和個性的自由解放。九十年代初期倪志琪前往比利時安特衛(wèi)普皇家美術(shù)學院留學深造，他與羅中立、姜陸等當代藝術(shù)家一起構(gòu)成了中國現(xiàn)代美術(shù)史上影響深遠的留比現(xiàn)象。在這所培養(yǎng)了凡·高等大師的藝術(shù)殿堂，他斬獲比利時卡雷爾·維斯拉特（Karel Veslat）藝術(shù)大獎。

Ni Zhiqi, who loves to travel, said: 'Traveling is a great way for one to learn and help you understand the world.' He opened the door to the world and went further and further. Departure is for a better return. In the early 90s, he went to Belgium to study at the Royal Academy of Fine Arts in Antwerp and won the Karel Veslat Art Award in Belgium. 

《蒙娜麗莎的再生》

留比生涯是倪志琪藝術(shù)與人生的一次革新與突破，這期間他創(chuàng)作了顛覆性的裝置藝術(shù)作品《蒙娜麗莎的再生》，作者以自身反觀社會，有著率真的主題性表達。回國后，倪志琪的創(chuàng)作開啟東方式的回歸和自省，形成明確的個人風格。2015年他的作品被制作成新加坡郵票發(fā)行。

Had been interviewed by the president of Singapore, the work was made into a Singapore stamp issue. Early in Surrealist and Cubist painting, Ni Zhiqi, who emerged in the 85th art movement, has now become  an accomplished Chinese artist..

倪志琪作品《馬》《空間》《堤》《船》被收入新加坡郵票史

并制作成郵票限量發(fā)行

一次去西班牙的旅行使倪志琪獲得了新的靈感，阿拉伯文化跟古希臘文化的完美結(jié)合讓他震撼。旅程結(jié)束后他開始煞費苦心地收集傳統(tǒng)手工紙進行創(chuàng)作，將精心挑選的手工紙一層層以基底的形式覆蓋在亞麻布面上，制造出紙質(zhì)特有的若隱若現(xiàn)的粗糙毛邊效果。運用一些或明亮、或暗沉的色彩，在拼貼銜接處所留下的接縫上繪制出瓷磚的幾何圖案。這就是《阿爾罕布拉宮》系列作品，隱晦、內(nèi)斂但又直接。

A trip to Spain gained Ni Zhiqi a new inspiration, the perfect combination of Arab culture and ancient Greek culture made him shock. After the journey, he began to painstakingly collect traditional handmade paper to create, the carefully selected handmade paper layer by layer in the form of linen covering the surface to create a unique texture of the paper looming rough burr effect. Use bright or dull colors to draw the geometric patterns of the tiles on the seams left by the collage. This is the 'Alhambra' series of works, obscure, introverted but direct.

《 阿爾罕布拉宮之十》

145 x 106 cm, 2017

布面綜合材料（亞麻布、手工紙及丙烯顏料）

《阿爾罕布拉宮》系列作品

《書上的記憶》系列作品是倪志琪在游歷世界時，運用從各地購入的舊書雜志，把抓拍的照片打印在不同材質(zhì)的紙上，組合成一個新的系列作品?？缃绾投嘣慕Y(jié)合，是對傳統(tǒng)呈現(xiàn)方式的打破。雖然每一種藝術(shù)手法都具有排他性的，在這個系列作品中，攝影是作為畫面中的一個補完部分而被呈現(xiàn)，但是書籍的歷史感和拍攝瞬間的溫暖融合，在他的創(chuàng)作中得到了奇妙和有機的展現(xiàn)。

The 'Memory on Books' series is a collection of works by Ni Zhiqi, who used old books and magazines purchased from all over the world to print snapshots of different materials on paper. The combination of cross-border and pluralism is a break with the traditional presentation. Although each of these artistic practices is exclusive, photography is presented as a complementary part of the picture in this series, but the historical sense of the book, combined with the warmth of the moment of filming, is a fantastic present.

' Memories in the book '

Photography by iphone 6 in Paris

《書上的記憶》系列作品

倪志琪的作品有著極簡主義的素白，作品的整體色調(diào)在米白和淺咖之間浮動，杜絕了一切的繁雜干擾。干凈簡潔的質(zhì)地可以強有力的喚起任何物體的物質(zhì)性，讓人能夠越過色彩紛呈的干擾，而直接關(guān)注到作品的本身。

Ni Zhiqi's works have a minimalist plain, the overall tone of the work between the rice and light coffee, put an end to all the complicated interference, clean and simple texture can strongly arouse the materiality of any object, people can cross Colorful interference, but directly concerned about the work itself.

他作品傳導的另一種感覺是空濛，空不是指大尺度的空間，而是物與物之間的間隙，有時只是一個時間與思維上的停頓和迷離。這個細小的間隙讓人在紛雜的世界中有了片刻的喘息和直抵心靈的安寧。

Another feeling that his works convey is empty. Empty does not refer to large-scale space, but the gap between things, sometimes it only expresses a time and thinking pause. This gap gives viewer a brief respite in the world of confusion and peace of mind.

倪志琪的作品不是肆意的張揚而是有節(jié)制的激情，以理性的冷靜的姿態(tài)強調(diào)作品本身的純粹與高貴，背后有著深厚的文化語境和情感支點。他的系列作品一以貫之的風格，營造出多層次的視覺效果，喚起觀者豐富的感受和認知。

Ni Zhiqi's works are not wantonly publicity but temperate passion. They emphasize the purity and elegance of the work itself in a rational and calm manner, and have deep cultural context and emotional fulcrum behind it. A consistent style of his series of works creates a multi-layered visual effect, arousing the viewer's rich feelings and perceptions.

不同于蒙德里安（Mondrian）的幾何抽象畫派，他更偏向于帶有浪漫傾向的抒情抽象。在倪志琪的繪畫中，抽象與具象、東方文化與西方文化相互交融，難解難分。他介紹自己的作品時說：“我的作品其實里面還是有具象的，我只不過把物體本質(zhì)的東西慢慢提煉出來，本質(zhì)的東西提煉得越多，表面上看越抽象，畫面里面其實包涵了很多我內(nèi)心深處想要表達的東西，可能每個人的感受會不同。”

Different from Mondrian's geometric abstraction, he prefers the lyrical abstraction with romance tendency. In Ni Zhiqi's painting, abstract and figurative, oriental culture and western culture are interwoven and inextricably linked. When he introduced his own work, he said: 'My work is actually still something concrete. I only slowly extracted the essence of the object. The more the essence is refined, the more abstract the surface is. A lot of things I want to express my heart, may each have different feelings.

因為每個人的感受是不同的，

所以他就把這個問題交給了觀眾。

Because each person's feelings are different, 

so he put the issue to the audience.

藝術(shù)家的精神世界其實沒有人們想象的那么復雜，如果過分復雜的話，那就不真實了。而精神世界過分修飾后，畫面必然會帶有一種匠氣，那也就失去了藝術(shù)的存在價值。藝術(shù)的博大來源于對生活的熱愛和有趣的靈魂，除了是一位藝術(shù)家，倪志琪還有多重身份符號：大學教授、時尚潮男、咖啡控、INS大咖等等。平日除了悉心指導他的學生，只要有空余時間，他都會待在他的工作室里。這種創(chuàng)作上的不懈堅持，使他掠過藝術(shù)的表面，更接近事物本真的樣子。倪志琪教授常說：“把復雜的東西變得簡單，把物體本真的東西變成抽象的，這是我一生中所追求的目標?！?/span>

In fact, the artist's spiritual world is not as complicated as people think. If it is too complicated, it is not true. After the spiritual world is excessively decorated, the picture will inevitably come with a kind of artistry, which will lose the existence value of art. The great art comes from the love of life and the interesting soul. Besides being an artist, Ni Zhiqi has multiple identities: university professors, style icons, coffee enthusiast, INS star, and so on. Weekdays in addition to careful guidance of his students, as long as there is free time, he will stay in his studio. This creative perseverance, make him skim the surface of art, closer to the true nature of things like this. Professor Ni Zhiqi often said: 'It is the goal I pursue in my life to make the complicated things simple and to make the objects of the objects really abstract.

藝術(shù)家在一場傾情投入的藝術(shù)創(chuàng)作過程中，

他本身就是一種符號、更是一種象征。

In the process of artistic creation invested by an artist,

 he is a kind of symbol in itself and more of a symbol.

 ? Kaixi Rao 

 Wechat: cathy_012 

圖：ZHIQI NI / 文：Kaixi Rao

Contact:  raokaixi@163.com

不存在空間