Peng Jian 彭劍
Under Close Observation 2 局觀2, 2015
Ink and colour on paper 水墨設色紙本
51 x 67 cm
Copyright The Artist
Peng Jian was born in Yueyang, Hunan Province in 1982. His father was an engineer, so he grew up surrounded by minutely planned and highly complex architectural renderings which simultaneously...
Peng Jian was born in Yueyang, Hunan Province in 1982. His father was an engineer, so he grew up surrounded by minutely planned and highly complex architectural renderings which simultaneously ignited an interest in art and a respect for line. He graduated with a MFA from China Academy of Art at Hangzhou in 2013, where he still works and lives, with his wife, artist Pan Wenxun, and their young son.
Peng Jian’s paintings are bold in colour, and angular in line, channelling the force of the ancient Chinese architectural discipline of jiehua. The artist harnesses the ruler tools that were used to bring buildings to life in imperial times. Peng Jian’s paintings rejoice in the angularity of books, and Rubik’s Cubes. The paintings are open to manifold interpretations: the cube may be seen, less as a symbol of the 1980s when Peng was born, and more as the visual embodiment of the ordered grid with bold colours in unexpected combinations, controlled and yet somehow unpredictable. Wear and tear on the books may reflect the randomness that creeps into the most ordered of settings, and also how age and experience complement and realize the role of theoretical learning.
His paintings are complex and yet simple, historically inspired, yet deeply modern. His style flects the invisible thread which links geometric abstraction of the turn of the 20thCentury to today. In the words of prominent artist Xu Lei: “Geometric Absraction is the most characteristic expression of modern art... Peng’s works echo the revival of such a style in contemporary art.” And, as international art critic, Barbara Pollack, remarks: “Peng Jian manages to harmonize several different strains of art within his paintings because he is thoroughly educated in the history of each his influences.
彭劍，1982年生於中國湖南岳陽。父親是一名工程師，因此他在精心策劃、高度複雜的建築圖紙的包圍下成長，這激發了他對藝術的興趣和對線條的重視。2013年彭劍畢業於杭州中國美術學院國畫系，並獲取碩士學位。現與同為藝術家的妻子潘汶汛及小兒在杭州工作、生活。
彭劍的作品設色明快大膽，線條棱角分明，引導出傳統中國界畫中的建築精髓。他更在創作中運用曾在古代測繪建築的界尺工具。他的畫既複雜，又簡約；既受歷史啟發，又極富現代感。立方體和被視為是井然有序的網格與大膽設色的化身，變幻莫測卻又控制自如。書籍上的磨損或許反映了最有規律的設置中的隨意，以及年齡和經驗在實踐理論學習中的角色 。他的風格亦反映無形的線索，以幾何抽象串連二十世紀至現今的轉變。
引用著名藝術家徐累的話：「幾何抽像是現代藝術中最具特色的表達手法... 彭氏的作品呼應這種當代藝術風格的復興 。」而國際藝評家芭芭拉•波拉克（Barbara Pollack）表示：「彭劍在畫作中成功協調不同類型的藝術，他的藝術風格被每段對他有影響的經歷孕育。」
Peng Jian’s paintings are bold in colour, and angular in line, channelling the force of the ancient Chinese architectural discipline of jiehua. The artist harnesses the ruler tools that were used to bring buildings to life in imperial times. Peng Jian’s paintings rejoice in the angularity of books, and Rubik’s Cubes. The paintings are open to manifold interpretations: the cube may be seen, less as a symbol of the 1980s when Peng was born, and more as the visual embodiment of the ordered grid with bold colours in unexpected combinations, controlled and yet somehow unpredictable. Wear and tear on the books may reflect the randomness that creeps into the most ordered of settings, and also how age and experience complement and realize the role of theoretical learning.
His paintings are complex and yet simple, historically inspired, yet deeply modern. His style flects the invisible thread which links geometric abstraction of the turn of the 20thCentury to today. In the words of prominent artist Xu Lei: “Geometric Absraction is the most characteristic expression of modern art... Peng’s works echo the revival of such a style in contemporary art.” And, as international art critic, Barbara Pollack, remarks: “Peng Jian manages to harmonize several different strains of art within his paintings because he is thoroughly educated in the history of each his influences.
彭劍，1982年生於中國湖南岳陽。父親是一名工程師，因此他在精心策劃、高度複雜的建築圖紙的包圍下成長，這激發了他對藝術的興趣和對線條的重視。2013年彭劍畢業於杭州中國美術學院國畫系，並獲取碩士學位。現與同為藝術家的妻子潘汶汛及小兒在杭州工作、生活。
彭劍的作品設色明快大膽，線條棱角分明，引導出傳統中國界畫中的建築精髓。他更在創作中運用曾在古代測繪建築的界尺工具。他的畫既複雜，又簡約；既受歷史啟發，又極富現代感。立方體和被視為是井然有序的網格與大膽設色的化身，變幻莫測卻又控制自如。書籍上的磨損或許反映了最有規律的設置中的隨意，以及年齡和經驗在實踐理論學習中的角色 。他的風格亦反映無形的線索，以幾何抽象串連二十世紀至現今的轉變。
引用著名藝術家徐累的話：「幾何抽像是現代藝術中最具特色的表達手法... 彭氏的作品呼應這種當代藝術風格的復興 。」而國際藝評家芭芭拉•波拉克（Barbara Pollack）表示：「彭劍在畫作中成功協調不同類型的藝術，他的藝術風格被每段對他有影響的經歷孕育。」
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