“我更多地尝试了对中式透视空间的探索，在线条色块与画面纵深两者之间寻找比较舒适的平衡效果。”
潜伏在陈高杰所描绘的诡秘景观之下的，是他幽暗暧昧的自性。他近期的创作将古典美学融入他的神话叙事中，结合不同透视方式和空间排布，带观者游览于他玄妙世界的冰山一角。
Beneath the mysterious landscapes depicted by Gaojie lurks his dark and ambiguous personality. His recent works incorporate classical aesthetics into his mythological narratives, combining different perspectives and spatial arrangements to take the viewer on a tour of the tip of a iceberg of his mysterious world.
Installation View, Artworks ©陈高杰 Gaojie Chen
“我很喜欢在作品中呈现出某种‘可游览性’和‘角色扮演性’。”
"I'm a big fan of presenting a certain 'tourability' and 'role-playability' in my work."
Installation View, Artworks ©陈高杰 Gaojie Chen
在作品《无痕手术》中，日常被视为一个不断展开的手术场景。在画面里，个体既是施术者也是接受者，既是观察者，也是观察对象。而在展览空间里，又加入了现场观众这一新的视角，这三种身份的界限在迅速地互相转换中变得模糊不清。在世界之网的表面机制中，各个节点之间的驯化与控制此起彼伏，主体一旦激发起反思性的观看，表皮之下的复杂性便迅速地展开。
In the work "Scarless Surgery", everyday life is seen as a constantly unfolding surgical scene. In the picture, the individual is both the giver and the receiver, the observer and the object of observation. In the exhibition space, the new perspective of the live audience is added, and the boundaries of these three identities become blurred as they rapidly shift into each other. In the surface mechanism of the world's web, the domestication and control of each node are in constant succession, and once the subject provokes reflective viewing, the complexity beneath the surface quickly unfolds.
Installation View, Artworks ©陈高杰 Gaojie Chen
此次展览的《人像》系类融合了真人肖像和中西古典艺术造像，使人像呈现出一种既具有人类特征又抽离人类一般感知的人形异像。
The “Portrait” series in this exhibition combines portraits of real people with classical Chinese and Western art, giving the portraits a kind of humanoid alienation that is both characterized by human features and abstracted from the general perception of human beings.
Installation View, Artworks ©陈高杰 Gaojie Chen
冲突矛盾的各形象经过艺术家的精心营造，达到了中间态的巧妙平衡，而其中的紧张关系构建了“可游览的大观园”。这里面没有对善恶好坏的明确伦理判断，绝对的道德命令与二元对立都被悬置了，文明与兽性、理性与情感在错综复杂的弹珠游戏里对撞。
Through the artist's elaborate creation of conflicting images, a delicate balance of intermediate states is achieved, and the tensions therein build up a "visitable Grand View". There is no clear ethical judgment of good and evil, absolute moral command and dichotomy are suspended, and civilization and bestiality, rationality and emotion collide in an intricate game of pinball.
Installation View, Artworks ©陈高杰 Gaojie Chen
Installation View, Artworks ©陈高杰 Gaojie Chen
Installation View, Artworks ©陈高杰 Gaojie Chen
Q: 听说你平时会打游戏，作为一个游戏玩家，你有没有特别喜欢的游戏类型、角色或者场景？游戏会对你的创作有什么影响或启发吗？
A: 我会玩的游戏类型挺多的，但幻想冒险恐怖方向的RPG我比较偏爱一点，比如黑暗之魂艾尔登法环系列，战神系列，生化危机系列，我也很期待我国最近要上线的几款大作。我很喜欢在作品中呈现出某种“可游览性”和“角色扮演性”，这和游戏中吸引我的叙事逻辑和空间设计的确有很大关系。
Q: I've heard that you usually play video games. As a gamer, do you have a favorite game genre, character, or scene? How do games influence or inspire your creations?
A: I play a variety of game genres, but I have a particular preference for fantasy, adventure, and horror RPGs, such as the Dark Souls and Elden Ring series, the God of War series, and the Resident Evil series. I'm also looking forward to several major titles from China that are coming out soon. I like to present a certain "exploitability" and "role-playing" aspect in my work, which is indeed influenced by the narrative logic and spatial design that attract me to games.
Portrait 人像, 9 × 7 cm, 木板油画 Oil on wood frame, 2024
Q: 你认为相较于去年的作品，今年的创作上有哪些不同或变化？可以聊一下你接下来的创作方向吗？
A: 与去年相比，今年上半年最大的变化在于我更多地尝试了对中式透视空间的探索，在线条色块与画面纵深两者之间寻找比较舒适的平衡效果。下半年我会延续和深化这个路线，并且加入更多属于我个人或者我们这一代人生活经验的元素和想象，之前几年的方向我也会继续推进并与现在的新东西连接融合。
Q: Compared to your works from last year, what are the differences or changes in your creations this year? Can you talk about your future creative direction?
A: The biggest change in the first half of this year compared to last year is that I experimented more with Chinese perspective space, trying to find a comfortable balance between line blocks and the depth of the picture. In the second half of the year, I will continue and deepen this approach, incorporating more elements and imaginations from my personal or generational experiences. I will also continue to advance the directions from previous years and connect and integrate them with new elements.
Portrait 人像, 12 × 9 cm, 木板油画 Oil on wood frame, 2024
Q: 这次的人像系列是一个新尝试吗？能不能细讲一下？
A: 这次的人像是我重新理解人物绘画的一批练习作品，在这中间我得到了一些新的启发。我结合了真人肖像和中西古典艺术造像中我感兴趣的特质，产生了某种似真人非真人的“拟人”效果，这一点我觉得挺不错的。
Q: Is this portrait series a new attempt? Can you elaborate on it?
A: This portrait series is a set of practice works where I reinterpreted figure painting and gained new insights. I combined traits from real-life portraits and classical art figures from both Eastern and Western traditions that interest me, resulting in a "quasi-human" effect that looks somewhat real yet unreal, which I find quite appealing.
Portrait 人像, 10 × 8 cm, 木板油画 Oil on wood frame, 2024
Q: 有哪些特定的神话元素对你的创作产生了影响吗？
A: 我喜欢看跨区域文化的神话比较学研究，这里面微妙幽深的联系与区别令我着迷。对我有影响的元素就太多了，佛道神话体系，中国民俗传说，两河神话体系，印度神话，美洲神话等，我都有喜欢的点。在文学中，我也偏爱有魔幻与超现实气质的作品。
Q: Are there any specific mythological elements that have influenced your creations?
A: I enjoy studying comparative mythology across different cultures, and the subtle and profound connections and differences fascinate me. Many mythological elements have influenced me, including Buddhist and Taoist mythologies, Chinese folklore, Mesopotamian myths, Indian myths, and American myths, each of which I find intriguing. In literature, I also prefer works with magical and surreal qualities.
Portrait 人像, 10 × 8 cm, 木板油画 Oil on wood frame, 2024
Q: 你是否会遇到灵感枯竭或者创作瓶颈期，你一般会如何应对这种状况？
A: 那当然是有的，不过发生的越来越少了。我会细分我感兴趣的几个创作小方向，它们都是统一在我的大方向之下的，任何时候出现了新的想法我都会用最方便的工具分门别类的记录下来，这个方法基本使我不太会灵感枯竭。瓶颈更多的体现在推进画面上，但只要坚持就会解决。
Q: Do you ever experience creative block or a dry spell of inspiration? How do you usually deal with such situations?
A: Of course, but it happens less and less often. I break down my interests into several smaller creative directions, all unified under my main direction. Whenever I have new ideas, I categorize and record them using the most convenient tools, which basically prevents me from running out of inspiration. Bottlenecks are more about advancing the visuals, but persistence always resolves them.
Portrait 人像, 10 × 8 cm, 木板油画 Oil on wood frame, 2024
Q: 是什么契机产生的从之前群像到这次展览的一个场景的转变？
A: 全景式的群像和特定角度的场景在我的创作中是一体两面的，这种转变是自然而然的，因为我都有兴趣，大家也能发现局部场景本来也是我一直有的方向。
Q: What triggered the shift from previous group portraits to the specific scene in this exhibition?
A: Panoramic group portraits and specific scenes are two sides of the same coin in my creations. This shift occurred naturally because I am interested in both. People can also notice that local scenes have always been a part of my direction.
Portrait 人像, 10 × 8 cm, 木板油画 Oil on wood frame, 2024
Q: 作品里怪诞和有趣的感觉是创作之初就考虑进去的吗？
A: 一部分是预先设计好的，特别是涉及到画面结构的部分，比如一些关键的意象，颜色和线条。还有一些是随着画面的推进而进行的增删改动，因为想法与实际的画面效果都会随着真实的绘画实践而改变，新的有趣的形象也会随之出现。
Q: Was the sense of the grotesque and interesting in your works considered from the beginning?
A: Part of it was pre-designed, especially concerning the structure of the picture, such as key imagery, colors, and lines. Some elements were added, removed, or modified as the work progressed because ideas and actual visual effects evolved with the practice of painting. New and interesting images also emerge as a result.
Portrait 人像, 9 × 7 cm, 木板油画 Oil on wood frame, 2024
Portrait 人像, 10 × 8 cm, 木板油画 Oil on wood frame, 2024
展览现场, ART021, 上海廿一当代艺术博览会万一空间, 2022 Photo credit © 上海廿一当代艺术博览会万一空间
展览现场, 金色狮子，万一空间, 2023 Photo credit © 万一空间
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