孫晨祎是灰墻藝術(shù)簽約并著力推薦的年輕藝術(shù)家。2015年他從家鄉(xiāng)上海出發(fā)去美國(guó)深造，現(xiàn)在回到他的母親城市，帶著他已在美國(guó)紐約等地成功巡展的“地鐵系列”作品。提及紐約，絕對(duì)不是為了告訴大家，這些作品因海外鍍過(guò)金而身價(jià)不菲，而是想就此展開(kāi)關(guān)于孫晨祎這個(gè)靈感來(lái)源的討論。Sun Chenyi is a young artist who is delegated and recommended in great efforts by Greywalls Art. In 2015, he set out from hometown Shanghai to study in the United States. Now he returns to his mother city with his "Subway Series" works that have been successfully toured in New York and other places in the states. Referring to New York is definitely not to tell you that these works are valuable because they have been exhibited overseas, but to start a discussion on Sun Chenyi as a source of inspiration.

《等待（Waiting）》布面油畫(huà) 110×145cm 2019年

關(guān)于孫晨祎的藝術(shù)創(chuàng)作，我想從意和藝兩方面來(lái)談?wù)勎业目捶?。先說(shuō)意，也就是藝術(shù)家想表達(dá)的思想和理念。據(jù)藝術(shù)家自述，他的地鐵系列是想描述當(dāng)下在城市高壓環(huán)境中每個(gè)個(gè)體的孤獨(dú)及與世界的隔離。我認(rèn)為，意圖是明確的，表達(dá)也是到位的。首先，地鐵是大城市的標(biāo)記之一。其次，地鐵是普通上班族通勤的主要交通工具。其三，白領(lǐng)們是否能準(zhǔn)點(diǎn)上班打卡，一是要看地鐵的準(zhǔn)點(diǎn)率，二是要看準(zhǔn)點(diǎn)到站的地鐵是否擁擠到無(wú)法搭乘。其四，白領(lǐng)們加班很晚的時(shí)候是否能趕上末班地鐵。最后，則是一個(gè)心態(tài)問(wèn)題：不管車(chē)廂是擁擠還是空蕩，地鐵搭乘者當(dāng)時(shí)的心情如何？是否身邊有人陪伴？是否有大城市的歸屬感？這么多屬性和思考，被地鐵這一件東西給一網(wǎng)打盡了，可見(jiàn)藝術(shù)家對(duì)藝術(shù)語(yǔ)言歸納和概括的能力可謂是高超的。孫晨祎地鐵系列的作品中都增加了視覺(jué)上的縱逝感，把三維思考疊加到了一個(gè)畫(huà)面，這個(gè)時(shí)候，人物是凝固的，空間是移動(dòng)的，而時(shí)間在飛速流逝?？紤]到這里，我腦中閃現(xiàn)了本篇評(píng)述的標(biāo)題——凝固與流掠，但也僅僅是個(gè)模糊的概念。Re Sun Chenyi's artistic creation, I want to talk about my views from two aspects: meaning and technique. First, meaning, that is, the thoughts and ideas that the artist wants to express. According to the artist's own account, his Subway Series is to describe the loneliness of each individual and his/her isolation from the world in the current urban high-pressure environment. I think the intention is clear and the expression is in place. First of all, the subway is one of the symbols of big cities. Secondly, the subway is one of the main transportation means for ordinary office staff to commute. Third, whether white-collar workers can punch in on time depends on the punctuality rate of the subway and whether the subway arriving on time is too crowded to take. Fourth, whether white-collar workers can catch the last subway when they work late. Finally, it is a question of mentality: whether the carriage is crowded or empty, what was the mood of subway passengers at that time? Are you accompanied? Do you have a sense of belonging to a big city? So many attributes and thoughts have been wiped out by the subject -- subway. It can be seen that the artist's ability to summarize his artistic language is superb. Sun Chenyi's works of Subway Series add a transient sense in vision, superimposing three levels of thinking on a picture. At the same time, the characters are solidified, the space is moving, and time is passing rapidly. In view of this, the title of this review - solidification and flow sweep - flashed in my mind, but it is only a vague concept.

《紐約Newyork》布面油畫(huà) 80×120cm 2020年

意的第二層意思是藝術(shù)的共通性和無(wú)國(guó)界。世界上每個(gè)大都市的地鐵，都像其脈絡(luò)，四通八達(dá)，輸送著人流，也傳遞著文化和思想。人類(lèi)可以有不同種族和膚色，地鐵里播報(bào)的語(yǔ)言也可以各不相同，但是有幾點(diǎn)一定是共通的，那就是向乘客宣講列車(chē)的起點(diǎn)、到站和終點(diǎn)。孫晨祎把原本有地域差別的各國(guó)地鐵，通過(guò)共同的顯著特征進(jìn)行了串聯(lián)，從而令他的藝術(shù)語(yǔ)言達(dá)到了無(wú)國(guó)界的認(rèn)同感。但有趣的是，他還采錄世界各國(guó)地鐵運(yùn)行和播報(bào)的聲效，似乎想通過(guò)個(gè)體的差異性，特別是文化背景和地理環(huán)境的不同，來(lái)進(jìn)一步加深其作品共通性的認(rèn)定。從藝術(shù)的世界性來(lái)看，單一地區(qū)地鐵場(chǎng)景的美術(shù)繪制是定點(diǎn)的表達(dá)，而融匯了多個(gè)場(chǎng)景的地鐵主題系列作品，則成就了某人在不同地點(diǎn)面對(duì)物是人非時(shí)的一份份感嘆。

《就是這樣 This is The Way》布面油畫(huà) 45.5×45.5cm（含框） 2021年

The second reading of the artist’s meaning is the commonality and borderless of art. The subway in every metropolis in the world, like its context, extends in all directions, conveying people, culture and ideas. Human beings can have different races and skin colors, and the language broadcasts in the subways can also be different, but there must be several points in common, that is, to tell passengers about the starting point, arrival and destination of the train. Sun Chenyi connected the subways of various countries with regional differences through common salient features, so that his artistic language reached a sense of identity without borders. But interestingly, he also collected sound effects from subway operation and broadcasting all over the world. It seems that he wants to further deepen the identification of the commonality of his works through individual differences, especially cultural background and geographical environment. From the perspective of artistic cosmopolitanism, the art drawing of subway scenes in a single area is a fixed-point expression, while the subway theme series works integrating multiple scenes have made someone sigh when facing the changes of things and people in different places.

《大都會(huì)Metropolitan》布面油畫(huà) 120×80cm 2020年

再來(lái)說(shuō)藝，也就是繪畫(huà)技巧。前面曾提到，地鐵系列都帶有很強(qiáng)的視覺(jué)縱逝感，大多數(shù)畫(huà)面中，只有視線焦點(diǎn)的人或物是固定的，這種固定也是相對(duì)周遭環(huán)境的移動(dòng)而言的，所以固定的人或物也沒(méi)有做非常細(xì)致的處理，而周遭環(huán)境則通過(guò)相同色系顏料的水平交錯(cuò)鋪展來(lái)表現(xiàn)它們?cè)谝暰W(wǎng)膜上的極短停留，文學(xué)一點(diǎn)說(shuō)那叫流光掠影。跳出地鐵系列，來(lái)看藝術(shù)家的其他創(chuàng)作，則會(huì)為凝固和流掠這兩個(gè)概念找到更多的解讀。這篇評(píng)述的標(biāo)題就此確定。藝術(shù)家的部分人物或靜物寫(xiě)生，因?yàn)闆](méi)有周遭環(huán)境瞬移的影響，所以較地鐵系列精細(xì)很多，雖然離超寫(xiě)實(shí)還有很大的距離，但藝術(shù)家還是用成熟的筆法固定住了模特的某個(gè)姿態(tài)或神情。孫晨祎好象也沉醉于用粗放或流掠的方式來(lái)畫(huà)靜止的人或物，這和視覺(jué)的短暫成像無(wú)關(guān)，而是借此技法表達(dá)自己所不能表達(dá)，表達(dá)自己在創(chuàng)作時(shí)的模糊狀態(tài)，藝術(shù)家把這種流掠，用在了自畫(huà)像上，也延伸用到了他的抽象作品上。

《紫Purple》布面油畫(huà) 60×45cm 2021年

Then talk about technique, that is, painting skills. As mentioned earlier, the Subway Series have a strong sense of visual transience. In most pictures, only the people or objects with the focus of sight are fixed, which is also relative to the movement of the surrounding environment, so the fixed people or objects are not handled very carefully, and the surrounding environments shows their very short stay on the retina through the horizontal staggered spread of the same color system pigments. In literature, it is called Flash Past. If jump out of the Subway Series and look at other works of the artist, we will find more interpretations of the two concepts of Solidification and Flash Past. The title of this review is thus determined. Some of the artist's characters or still life portraits are much more refined than the Subway Series because they have no influence of the rapid change of the surrounding environment. Although there is still a great distance from super realism, the artist still uses mature brushwork to fix a certain posture or expression of the model. Sun Chenyi seems to be addicted to painting still people or things in an extensive or sweeping way, which has nothing to do with the short-term imaging of vision，instead, he uses this technique to express what he can't express as well his fuzzy state when creates. The artist uses this sweeping in self portraits and extends it further to his abstract works.

《編號(hào)202012 No.202012》布面油畫(huà) 90×180cm 2020年

通過(guò)我的評(píng)述，希望大家能了解到，藝術(shù)家有藝，有才華，但他的作品更多地在表達(dá)他的意，如果觀者能對(duì)藝術(shù)家的思想和狀態(tài)感同身受，那么孫晨祎的作品對(duì)這樣的觀者來(lái)說(shuō)就是一種莫大的精神安慰。Through my comments, I hope you can understand that the artist is artistic and talented, but he is more expressing his meaning. If the viewer can feel the artist's thought and state, Sun Chenyi's works are a great spiritual comfort to him/her.

藝術(shù)家簡(jiǎn)介

孫晨祎

青年藝術(shù)家、策展人，2015 年獲得復(fù)旦大學(xué)上海視覺(jué)藝術(shù)學(xué)院學(xué)士學(xué)位；2018 年獲得美國(guó)薩凡納藝術(shù)與設(shè)計(jì)學(xué)院藝術(shù) M.F.A.碩士學(xué)位。先后參加了第 33 屆切爾西國(guó)際藝術(shù)比賽展覽、美國(guó)邁阿密藝術(shù)巴塞爾 Art Basel 和紐約 Artexpo 藝術(shù)博覽會(huì)等。2018 年在藝術(shù)巴塞爾 Art Basel 上簽約畫(huà)廊 Miami Art Collection。2019 年在紐約曼哈頓 SOHO 區(qū)域 PARASOL PROJECTS畫(huà)廊成功舉辦了地鐵系列個(gè)人巡展的首個(gè)展出“New York Station”。期間還將個(gè)人作品參與 2019 年第 27 屆年度紐約 Friend Academy 學(xué)院教育籌款拍賣(mài)活動(dòng)。