陈映舟
Chen Yingzhou
1995年出生于广东深圳，2019年毕业于中央美术学院雕塑系第三工作室，2021年毕业于马里兰艺术学院 Mount Royal School of Art (Multidisciplinary Art).
陈映舟致力于结合互联网网民制作图像的思维和传统架上绘画的绘制思维来创作作品，尝试使用meme（梗文化），trolling（巨魔），mash-up（杂糅）， kitchen sink（厨房下水道式的）等早期互联网内容创作思维来消解政治意识形态，热点时事议题，哲学宗教等的宏大叙事。作品形式类似讽刺漫画，波普艺术。手工模仿电脑电子绘图效果，结合漫画，插图的视觉元素。
参展经历：“夹山改梁 第一期”，中央美术学院版画系展厅，2017；“夹山改梁 第二期”，花家地北里小区某二居室，2019；“刚刚骑车突然有人问路，问：前有公园吗”，可以画廊，2019；“绿厂艺术节”，深圳绿厂，2019；“Nose Art Project 群展｜姑且相信”，凹凸空间，2019；“动情，1949后变局中的情感与艺术观念”，中间美术馆，2019；“绘画是观念艺术家的通行证，观念是绘画艺术家的墓志铭”，线上展览，2019；“大老黑”，上海某别墅，2019；“无论盛开还是不盛开，花都是”，可以画廊，2022。
Chen Yingzhou, born in 1995 in Shenzhen, Guangdong, graduated from the Third Studio of the Sculpture Department of the Central Academy of Fine Arts in 2019 and Mount Royal School of Art (Multidisciplinary Art) of the Maryland Institute College of Art in 2021.
He is dedicated to creating works that combine the thinking of Internet users in making images and the traditional drawing thinking of easel painting, employing meme, trolling, mash-up, kitchen sink, and other early Internet concepts to dissolve political ideologies, timely subjects, philosophies, religions, and other grand narratives. His works are similar to satirical cartoons and pop art, handcrafted to imitate the effect of computer graphics, combining the visual elements of comics and illustrations.
Exhibition experience: "Jasagala Phase I," Exhibition Hall of the Department of Printmaking, Central Academy of Fine Arts, 2017; "Jasagala Phase II," a two-bedroom apartment in Huajiadibeili community, 2019; "I was riding my bike, and suddenly someone asked for directions and asked: Is there a park in the front? " Keyi Gallery, 2019; "Green Factory Art Festival," Green Factory, Shenzhen, 2019; "Nose Art Project Group Exhibition｜Temporarily Believe," Aotu Space, 2019; "Moving Emotions, Emotions and Artistic Concepts in the Post-1949 Change", Middle Art Museum, 2019; "Painting is the Pass of Conceptual Artists, Concepts are the Epitaph of Painting Artists," online exhibition, 2019. "Big Old Black," a villa in Shanghai, 2019; "Whether blooming or not, the flower is," Keyi Gallery, 2022.
展览现场
Exhibition View
Q：流淌的液体，扭曲的肉体形象让人联想到克苏鲁文化，为何喜欢描绘这些形象？
A：流淌的液体是画的比较顺手的形象，肉体变形也是想画的更出其不意一些，也没有故意向克苏鲁靠，毕竟都还没画大触手。
Q: The image of flowing liquid and distorted flesh reminds people of the Cthulhu culture; why do you like to depict these images?
A: The flowing liquid is a more comfortable image to paint; the flesh deformation is also trying to paint with more surprises. There is no intentional leaning towards Cthulhu. After all, there are no giant tentacles yet.
Q：恐怖与幽默是你作品中显著的特质，你如何看待这两种元素？它们具有冲突性吗？
A：我觉得幽默是对苦大仇深的反叛，而且对于观众来说不需要门槛。恐怖倒没有故意使用，可能我画出来的东西就是很吓人？
Q: Horror and humor are distinctive qualities in your works; how do you see these two elements? Are they conflicting?
A: I think humor is a rebellion against bitterness and hatred, and it doesn't need a threshold for the audience. I don't use horror intentionally. Maybe what I paint is just scary?
少女与苹果 Young girl and apple
布面丙烯 Acrylic on Canvas
80cm x 60cm
2021
水上运动 Water Sports
布面丙烯 Acrylic on Canvas
120cm x 120cm
2021
夫妻拍档 Husband and wife team
布面丙烯 Acrylic on Canvas
120cm x 80cm
2022
少女、苹果与蜘蛛 Young girl, apple and spider
布面丙烯 Acrylic on Canvas
21cm x 30cm
2021
少女与苹果 Young girl and apple
纸本墨水 Ink on paper
21cm x 30cm
2022—2021
Q：在纸本作品中你频繁使用分格漫画的形式，这种形式对你来说意味着什么？试图表达什么样的观念？
A：可能是因为我有看过一些漫画，所以想用漫画的形式去创作，但我觉得这是一个弱点，因为很多时候无法在一个画框里把想讲的故事讲清楚所以才用分格来扩大空间。
Q: In your drawings, you frequently use the comic book format; what does this format mean to you? What kind of ideas are you trying to convey?
A: Maybe because I have read some manga, so I want to use the form of manga to compose. Still, I think this is a weakness because often, it is impossible to tell the story clearly in one frame. Hence, I adopt compartmentalization to expand the space.
Q：你认为自己分格漫画式的绘画和真正的分格漫画有什么区别？如果有的话，你如何使它成为绘画？
A：我没画过自己分格漫画，我的漫画都是找日常收集来的表格，把格子里原有的内容消除后再填入漫画，所以格子不是我分的，真正的分格漫画的格子是漫画作者分的，他可以按照漫画内容来调整格子，但我的是随机的。但这是不是可以成为绘画或漫画我也不知道，可能看你怎么定义绘画和漫画了。
Q: What do you think is the difference between your own manga-style drawings and actual manga? If so, how do you make it a work of art?
A: I don't draw my own comic book. I draw my own comic book using sheets that I collect every day. I then fill in the content after eliminating the original content of the grid so I don't divide the grid. In a real manga, the grid is divided by the manga author, and he can adjust the grid according to the content of the manga, but mine is random. But whether this can be a painting or a comic, I don't know. It probably depends on how you define artwork and comics.
Comic 5 & 26
纸本墨水 Ink on paper
21cm x 30cm
2020
Comic 27 & 22
纸本墨水 Ink on paper
21cm x 30cm
2020
Q：在纸本作品的纸张选择中你喜欢使用类似宜家说明书或某种表格一类的材料，为什么？
A：使用表格是因为想用表格的格子当成漫画的格子来画漫画，用打印材料是因为有时候面对空白的画纸无从下手，用本来就有内容的纸上可以消除下第一笔的恐惧。
Q: In the choice of paper for the drawings, you like to use something like IKEA instructions or some kind of table; why?
A: use a table because I want to use the grid of the table as the grid of the manga to draw the manga. I use print material because sometimes I can't begin to draw on blank paper, so I can eliminate the fear of making the first stroke on it with a piece of paper that already has contents.
自大狂的坟墓 The grave of egomania
纸本墨水 Ink on paper
21cm x 30cm
2020
Q：你的作品中常出现意识形态符号与批判性，你如何通过绘画来表达它们？
A：我觉得批判倒说不上，顶多算记录吧，因为很多意识形态也就产生不到几十年，而且不久后可能会消失。
Q: Ideological symbols and criticism often appear in your works; how do you express them through your paintings?
A: I think it's not so much a critique but a record at most because many ideologies have existed for less than a few decades and will probably disappear quickly.
凭什么他们能上天堂？我也牺牲了自己！Why could they go to heaven? I sacrificed myself, too!
布面丙烯 Acrylic on Canvas
80cm x 60cm
2021
意识形态批判你需要 Ideologycritiue you need
纸本墨水 Ink on paper
21cm x 30cm
2020
少女和苹果 Lady and an Apple
纸本墨水 Ink on paper
21cm x 30cm
2021
Q：你的绘画与现实世界是一种什么样的关系？
A：我的绘画是现实世界里的一个物体。
Q: What is the relationship between your paintings and the real world?
A: My painting is an object in the real world.
Q：素描在你的绘画中作为一个很重要的语言方式，你是如何看待并使用素描的？
A：素描比较顺手所以用了。
Q: Sketching is an essential language in your paintings; how do you see and use it?
A: Sketching is more comfortable, so I use it.
3p
纸本墨水 Ink on paper
21cm x 20cm
2019
公明少年 Koumei shounen
纸本墨水 Ink on paper
21cm x 30cm
2019
Q：你的纸本绘画与布面绘画在语言形式上呈现出一种混杂与分裂感，你如何看待这种状态，会去想要追求一种相对统一的语言吗？
A：可能是我还没有理解或者熟悉系列绘画的创作动机和过程，导致我想要一张里让画更有意思或者成立。可能到我理解了系列绘画的创作方式之后就会追求一种相对统一的语言吧。
Q: Your paintings on paper and canvas present a mixed and divided feeling in terms of language forms; how do you feel about this state of being, and do you want to pursue a relatively unified language?
A: Maybe I haven't understood or wasn't familiar with the motive and process of creating series of paintings, which led me to want to make the paintings more interesting or justifiable in single one. Maybe I will pursue a relatively unified language once I understand how to create a series of paintings.
Q：最近有什么新的创作计划与方向吗？
A：想要再画点画幅大的作品，或者绘制系列绘画？
Q: Do you have any new plans and directions recently?
A: Want to paint larger works or make a series of paintings?
烂番茄 Rotten Tomatoes
布面丙烯 Acrylic on Canvas
100cm x 80cm
2021
烂番茄 Rotten Tomatoes
布面丙烯 Acrylic on Canvas
21cm x 30cm
2021
无题 Untitled
Acrylic on Canvas 布面丙烯
80cm x 50cm
2020
Iroi
纸本墨水 Ink on paper
21cm x 30cm
2020
少女 Lady
纸本墨水 Ink on paper
21cm x 30cm
2021
少女和苹果 Lady and an Apple
纸本墨水 Ink on paper
21cm x 30cm
2021
圣卡 Saint cards
纸本墨水 Ink on paper
21cm x 30cm
2021
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