他方的盔甲 此岸的鱼——渊遐与张图双个展

The armor of another side ，the fish of this shore

艺术家 | Artists:

渊遐 Yuan Xia

张图为 Zhang Tuwei

策展人 | Curator：

万青 Wan Qing

展览执行 | Exhibition Execution：

曹守磊 | Cao Shoulei

张元旗 | Zhang Yuanqi

王雪宁 | Wang Xuening

展期 | Exhibition Date：

2026年4月3日-6月3日 | Apr.3 – Jun.3, 2026

地址| Address：

朗艺美术馆

青岛市崂山区东海东路88号银座领海公馆B座1F

1F, Building B, Yintai Linghai Mansion
No. 88 Donghai East Road, Laoshan District
Qingdao, China

前言 Introduction

精神世界的归途，往往呈现为两种相映的姿态：有人奔赴他方，以思想为甲，在思辨的边疆叩问存在；有人栖居此岸，化身心如鱼，在生长的脉络里安放本真。本次双个展以“他方的盔甲 此岸的鱼”为题，打破表象与内核的疆界，让两位艺术家的创作形成紧密的互文结构——张图为之“甲”，藏锋于浪漫视觉之下；渊遐之“鱼”，见性于抽象笔触之间。两套属于当代的视觉语法，在此碰撞交织，展开一场关于自我、外界、传统与当下的深度对话。

他方的盔甲：以艺为甲，藏思于形

张图为的创作，可视为一种隐于感性表象之下的精神装置。这位来自中央美术学院的青年艺术家，自附中至本科，长期受文物保护与修复专业的训练，转而深耕综合材料的语言表达。他以珍珠、闪珠、蛋糕、夜晚等意象，织就一层细腻浪漫的视觉肌肤，其下却构筑着如盔甲般致密的思辨系统。

画面中缝缀的闪珠，以物质性的突起打破二维平面性，如同甲片的棱角，在甜美表象之下暗含抵御与守护的隐喻。这亦可视作对拉康“镜像阶段”理论的视觉转译——借助物质与形式的硬度，刺破被外界所投射的、关于完美自我的幻象。当蛋糕的甜腻被转化为哲学的涩感，当珍珠的温润内藏锋锐，其作品便彻底剥离了廉价的浪漫想象，使艺术成为一副清醒的精神铠甲，在奔赴“他方”的途中，捍卫着独立思考的底色。

此岸的鱼：以心为境，即象见真

渊遐的创作，呼应着“此岸的鱼”那份沉潜与自在的心境。这位生于杭州、曾长期从事诗歌写作的艺术家，自2023年起系统转向绘画。文字的凝练与哲思，为其画面注入了诗性的节奏与通透的质感。

他的绘画始终遵循一种“生长”的逻辑，以简化的形体与交织的色块，构建出开放而充满内在张力的结构。他善于捕捉人物静默或悬置的状态，在克制构图与松弛笔触之间，营造出一种凝神观照的意境。其创作并不预设明确的象征体系，而是让形体、色彩与偶然生成的意象在反复调和中共生，使意义从视觉秩序自身中逐渐浮现，贴近现象学中“回到事物本身”的直观方法。

在方法层面，其创作与胡安·米罗的天真符号、保罗·克利的有机形态、弗朗西斯·培根的结构张力有所共鸣，又融入自身深厚的诗学修养。画面中流淌着一种富于呼吸感的留白。他注重色块本身的构成力，常以色彩与形体的相互关系直接承载情绪与心象，并将东方艺术对“线”与“虚空”的敏感，转化为当代语境下的视觉表达。渊遐如同一位此岸的静观者，不追逐外部喧嚣，不固着于象征，让画面在笔触与色彩的呼吸间自然显现，在含蓄而灵动的结构中，寄托心性的自由与本真的情感。

双生与互文：在对话中抵达

他方有甲，以坚韧穿透表象的迷障，叩问存在的本质；此岸有鱼，以柔婉涵养精神的沃土，归于心性的自在。张图为以浪漫为甲，藏思辨于视觉的褶皱之中；渊遐以诗意为境，游心象于色彩的呼吸之间。二人的创作，不仅在个体层面呈现出当代青年艺术中并存的理性坚守与感性澄明，更在彼此的并置与呼应中，结构性地诠释了展览主题“盔甲”与“鱼”的一体两面——它们并非对立，而是自我与精神在不同向度上的探索与安顿。

愿观者既能触摸盔甲之下的锐利与清醒，感受思辨的重量；亦能体会游鱼之间的柔软与通透，领悟诗意的沉淀。在这场刚柔相济的视觉叙事中，我们或可邂逅那些多元的精神图景，并最终，照见自己。

The homeward journey of the soul often unfolds in two complementary, mirroring stances. Some journey to the elsewhere, clad in armor forged of thought, to question the very nature of being at the frontier of dialectical inquiry. Others dwell on this shore, dissolving their being into a fish at one with the water, to anchor their authentic self within the living threads of growth. This dual solo exhibition, titled Armor for the Elsewhere, Fish of the Here, breaks down the boundary between appearance and essence, forging a tight intertextual structure between the two artists’ practices. Zhang Tuwei’s "armor" conceals its sharp edge beneath a romantic visual language, while Yuan Xia’s "fish" reveals its innate nature amid abstract brushstrokes. Two distinct visual grammars of the contemporary collide and intertwine here, unfolding a profound dialogue about the self, the external world, tradition, and the present.

Armor for the Elsewhere: Forging Art as Armor, Enshrining Thought in Form

Zhang Tuwei’s practice can be read as a spiritual apparatus hidden beneath a sensual facade. A young artist from the Central Academy of Fine Arts (CAFA), he received rigorous, long-term training in cultural heritage conservation and restoration from his time at the Affiliated High School through his undergraduate years, before shifting his focus to deepening his expressive language through mixed media. With motifs of pearls, sparkling beads, cakes, and nightscapes, he weaves a delicate, romantic visual skin, beneath which lies a tightly woven dialectical system as impenetrable as armor.

The sparkling beads sewn into the canvas break through the two-dimensional flatness with their physical protrusions, much like the sharp edges of armor scales, carrying an implicit metaphor of resistance and protection beneath their sweet, alluring facade. This can also be read as a visual transposition of Jacques Lacan’s theory of the Mirror Stage — using the solidity of material and form to pierce the illusion of a perfect self, projected onto the subject by the external world. When the cloying sweetness of cake is transformed into the astringency of philosophy, and the gentle luster of pearls conceals a sharp edge, his works shed all kitsch romantic fantasies entirely. Art becomes a sober spiritual armor, upholding the fundamental essence of independent thought on the journey toward the "elsewhere".

Fish of the Here: Taking the Heart as Realm, Seeing Truth Through Image

Yuan Xia’s practice echoes the submerged, unhurried ease of the "fish of the here". Born in Hangzhou, this artist spent many years writing poetry before embarking on a systematic shift to painting in 2023. The conciseness and philosophical depth of literary writing have infused his canvases with a poetic rhythm and a lucid, ethereal texture.

His paintings consistently follow a "logic of growth", using simplified forms and interwoven color blocks to construct open structures brimming with inherent tension. He has a keen eye for capturing figures in states of stillness or suspension, crafting an atmosphere of meditative contemplation through the balance between restrained composition and loose, fluid brushstrokes. His practice does not rely on a pre-defined, rigid symbolic system. Instead, he allows forms, colors, and spontaneously generated imagery to coalesce and grow through repeated mediation, letting meaning emerge gradually from the visual order itself — an approach closely aligned with the phenomenological intuitive method of "back to the things themselves".

In terms of methodology, his work resonates with the naive symbolism of Joan Miró, the organic forms of Paul Klee, and the structural tension of Francis Bacon, all while infused with his own profound poetic cultivation. A breathable negative space flows through his canvases. He emphasizes the compositional power of color blocks themselves, often using the interplay of color and form to directly carry emotion and mental imagery. He also translates the profound sensitivity to "line" and "void" inherent in Eastern art into a visual language rooted in the contemporary context. Like a contemplative observer on this shore, Yuan Xia does not chase the noise of the external world, nor does he cling to fixed symbolism. He lets the canvas emerge naturally through the breath of brushstrokes and color, anchoring the freedom of the spirit and authentic emotion within his understated yet dynamic structures.

Duality and Intertextuality: Arrival Through Dialogue

On the elsewhere stands armor, its resilience piercing the veil of superficial appearances to question the essence of being; on this shore swims the fish, its softness nurturing the fertile soil of the spirit to return to the unshackled ease of the soul. Zhang Tuwei uses romance as his armor, concealing dialectical inquiry within the folds of his visual language; Yuan Xia takes poetry as his realm, letting his mental imagery wander through the breath of color.

The two artists’ works not only embody, on an individual level, the coexistence of rational perseverance and lucid sensibility within contemporary young art, but also, through their juxtaposition and resonance, structurally interpret the two sides of the exhibition’s core motifs of "armor" and "fish". They are not opposing forces, but rather two distinct dimensions of exploration and anchoring of the self and the spirit.

May every viewer be able to touch the sharpness and sobriety beneath the armor, and feel the weight of dialectical inquiry; as well as embrace the softness and lucidity within the wandering fish, and grasp the quiet sediment of poetry. In this visual narrative of balanced hardness and softness, we may chance upon diverse landscapes of the spirit, and ultimately, glimpse our own true selves.

艺术家介绍

Artist Introduction

艺术家介绍

Artist Introduction

展览讯息

他方的盔甲 此岸的鱼——渊遐与张图双个展

艺术家：渊遐、张图为

策展人：万青

展览时间：2026年4月3日-2026年6月3日

展览地点：朗艺美术馆（青岛市崂山区东海东路88号银座领海公馆B座1F）