◆孙逸飞-S
C：在上学的时候有同学用打印机来创作，就让我萌生了用一些办公用品来画画的想法。于是我也购买了一台打印机，在同一张纸上反复打印，然后用圆珠笔和涂改液来画画。还有一次是去下乡，在老师对着一棵树根看得津津有味的时候发现自己好像什么都看不见，就让我放弃了雕塑。
S：我看你早期有很多具有漫画风格的作品，有没有特别喜欢的漫画家呢，他们最吸引你的地方在哪里？
C：早期比较喜欢古屋兔丸的palepoli，感觉他对黑白，墨水的玩法特别多。还有就是Quimby the mouse， 是我以前买的漫画，是那种报纸上连载的漫画，和现在看的那些书本形式的漫画挺不一样的，报纸的尺寸更大，在一页里的内容更多，我这一次的作品也有一些想要这种满满当当的构图。
很多时候对我更加吸引的是一些漫画家和插画师，因为对我来说在他们的作品里有更多的乐趣。我感觉很多这些画种对比已经存在几千年的架上绘画来说真的太年轻了，加上数码工具的加持，单纯在视觉方面的活力对于架上来说就望尘莫及，但当我与一些画家朋友分享的时候，总会听到“这太插画了。”一类的仿佛门槛式的评论，总感觉我的一些画家朋友们总会不经意间维护架上绘画的地位，但据我了解一些插画师在没有商业委托的情况下，也会自己创作，那这种状态其实和绘画的创作状态差别并不大。
Quimby the mouse
Comic 8
2020
纸本水墨 / Ink on paper
21×30 cm
S：在个展里面的新作品包括之前的一些作品中，其实能够看到你对于一些具体形象的处理并不是以一种绘画的手法去处理边线的，（以我的经验来看，许多绘画出身的人，更倾向于将边线处理的很虚，从而强化空间和体积，这也是学院绘画一直以来的手法）而是以一种类似漫画勾线然后填色的方式去强化边线，使其更加锋利。你认为你的这种处理形象的方式是来自于哪里？
C：可能就是因为对漫画比较感兴趣吧，我觉得勾线画画是更加服务于想象的方式。写实学院派绘画的手法更加注重观察你要画的东西，然后竭尽所能去还原，会经常考究型准不准，颜色对不对之类比较服务于真实的问题。但我大部份的想画的东西都是想象的，使用勾线也有可能是我无法连边缘线虚实或者漫反射光这类因素都想象出来。
我也试过自己摆拍或者用生成图片当做素材，但是无论怎么弄都会和想象中有些差距，比如上网找的人物素材，姿势总是有些别扭，想画一辆车，就是找不到想要的角度，所以其实勾出来是更直觉的方式。但其实也就是关注点不在上面，我可能会觉得画一个人站在哪手里拿着什么东西会很有意思，但是至于这个人的边缘线虚不虚可能就没那么重要了。像漫画一样的勾线画画的方式让我感兴趣的点在于，勾线其实有一种书写般的爽快感，这种感觉和漫画本身的气质也不谋而合，这种感觉不管在看漫画和画漫画的时候都会有，这个也可能是我想画画的其中一个冲动吧。
比如这张“最早的绘画”，即使时隔千年也能仿佛感受到下笔爽快。所以目前还是觉得勾线还是更加直接和比较接近最原始的画画的方式，即使到最后完成画面了也不想让最开始的线失去地位。
拉斯科洞窟壁画 / Lascaux Cave Paintings
好人坏人 / Good and Bad
2024
布面丙烯 / Acrylic on canvas
200 × 175 cm
S：关于展览的新作品我还有一个感受在于，相比于之前的作品中大面积的纯色，这一批的颜色总体上都是黑色白灰色块占据了大部分的面积，然后零星点缀上一些纯色块。这种处理方式或是转变你有事先计划过吗？或者说是什么原因导致了你在颜色选择上的变化？
C：可能只是构图上的考虑，一开始是觉得在一个画面里能同时看到室内和室外会很有趣，可是直接画一个房屋的纵截图，那就变成建筑解剖的图画了，那就无聊了。后来觉得如果同时画室内和室外发生的事情会更加有意思，这样其实事情就变成重点了，所以黑色的房子最后就变成一个提示室内外的图示符号般的作用了。
房子 / House
2024
布面丙烯 / Acrylic on canvas
180 × 240 cm
S：我在一些画面里能够看到有一些明显的叙事性的内容，似乎是将一个故事整合进了一张画面里。你认为故事或是叙事在你的画面里重要吗？
C：重要也不重要？我觉得有意思的故事也只是这幅画的起点而已，最后已经是经过无数魔改的结果，但最开始如果没有听到这个故事也不有想画画的冲动，比如其中一张画的起点是听到了一个故事里，一个人一拳接着一拳把另一个人活活揍死，最后这个凶手的一只手比另外一只手整整肿大了一倍，这事对我来说真的过于震撼，但是其实这幅画最后和这件事完全没关系了。
坏人 / Bad Person
2024
布面丙烯 / Acrylic on canvas
175 × 200 cm
S：我在一些画面里面也看到了一些底下的铅笔稿被保留了下来，对此你有什么考虑？
C：是想让画面显得不那么工整，但结果上感觉这一次的都还是过于工整了。今后尽量破除一下吧。也是完成这一次的作品之后会看才发现，当时在画画的时候经常画出来的东西与自的想象有差距，就会努力想要达到想象中的画面，画面过于工整可能也是这种原因，靠想象力画画，但却也困在了想象里，容不下意外和差距，最终只会患上强迫症。
武器和受害者 /Arms and Victims
2024
布面丙烯 / Acrylic on canvas
160 × 180 cm
S：你认为对于画面的处理手法或者说绘画所带来的质感是你需要亟待解决的问题还是只是作为你叙事表达的辅助？
C：目前还是作为叙事表达的辅助，但绘画的质感我也认为是我需要解决的问题之一。但与其说是问题，我觉得更像是一个探索不足的区域，总觉得把它当问题看待的话就总是会想一个解决，如果解决了这个事情就过去了，也许会丧失一些可能性。我觉得我对绘画这方面的思考更多在构图方面？不知道这个算不算绘画的质感，可能还是一直在寻找对于绘画来说还比陌生的构图方式。
S：你觉得你在画画吗？
C：很难说，我希望能够通过画画这件事情获得乐趣。Good luck. Have fun
生涯 / Life
2023
布面丙烯 / Acrylic on canvas
180 × 160 cm
S: You majored in sculpture during your undergraduate studies. What was the opportunity that led you to choose painting as a medium?
C: When I was in school, a classmate used a printer to create, which inspired me to use some office supplies to draw. So I also bought a printe, printed repeatedly on the same paper, and then used a ballpoint pen and correction fluid to draw. Another time I went to the countryside and when my teacher was engrossed in looking at a tree root, I realized that I couldn't see anything, so I gave up sculpture.
S: I noticed that you had many works with a manga style in your early days. Do you have any particular favorite manga artists? What attracted you the most about them?
C: In the early days, I was quite fond of Palepoli from Guwutu Maru, and I felt that he had a lot of gameplay in black, white, and ink. Another thing is Quimby the mouse, which is a manga I bought before. It's the kind of manga serialized in newspapers, which is quite different from the manga in the form of books I read now. The size of newspapers is larger, and there is more content on one page. I also want this kind of full composition for my work this time.
Many times, what attracts me more are cartoonists and illustrators, because for me, there is more fun in their works. I feel that many of these painting styles are too young compared to the thousands of years of shelf painting. With the support of digital tools, the vitality in terms of visual aspects alone is incomparable to shelf painting. However, when I share them with some painter friends, I always hear threshold like comments like "this is too illustration." I always feel that some of my painter friends inadvertently maintain the status of shelf painting, but as far as I know, some illustrators also create their own works without commercial commissions, which is not much different from the creative state of painting.
Comic 28
2020
纸本水墨 / Ink on paper
21×30 cm
S: In the new works in the solo exhibition, including some of your previous works, you can actually see that your handling of specific images is not done through a painting technique to deal with the edges. (In my experience, many people with a background in painting tend to make the edges very blurred, thereby strengthening space and volume, which is also a technique that has always been used in academic painting.) Instead, you use a method similar to comic line drawing and coloring to strengthen the edges, making them sharper. Where do you think your way of handling images comes from?
C: Perhaps it's because I'm interested in comics, I think drawing lines is a more imaginative way. The technique of realistic academic painting focuses more on observing what you want to paint, and then doing your best to restore it. It often considers issues such as accuracy in form and color matching, which are more relevant to reality. But most of the things I want to draw are imagined, and using hook lines may also make it difficult for me to even imagine factors such as the virtual and real edges or diffuse reflection light.
I have also tried posing or using generated images as materials, but no matter how I do it, there are always some differences from my imagination. For example, when I search for character materials online, the posture is always a bit awkward. When I want to draw a car, I can't find the angle I want, so in fact, hooking it up is a more intuitive way. But in fact, the focus is not on it. I may find it interesting to draw a person standing there holding something in their hand, but as for whether the edge line of this person is virtual or not, it may not be that important. What interests me about the way of drawing lines like in comics is that there is actually a writing like pleasure in drawing lines, which coincides with the temperament of comics themselves.This feeling can be felt when reading or drawing comics, and it may also be one of my impulses to draw.
For example, in this' earliest painting ', even after a thousand years, one can still feel the exhilaration of drawing. So currently, I still think that drawing lines is more direct and closer to the most primitive way of drawing, even if the final picture is completed, I don't want the initial lines to lose their status.
魔鬼漫才 / Devilishi Manzai
2024
布面丙烯 / Acrylic on canvas
180 × 240 cm
S: I have another feeling about the new exhibition works, which is that compared to the large areas of solid colors in previous works, this batch of colors is mostly black, white, and gray blocks, with scattered solid color blocks. Have you planned this approach or transformation beforehand? Or perhaps what caused the change in your color selection?
C: Perhaps it's just a consideration of composition. At first, I thought it would be interesting to see both indoors and outdoors in one picture, but drawing a vertical screenshot of a house would turn it into an anatomical drawing of architecture, which would be boring. Later on, I realized that it would be more interesting to draw both indoor and outdoor events at the same time. This actually made the events more important, so the black house eventually became a symbol that reminded me of indoor and outdoor events.
我想要你的人生 / I Want Your Life
2024
布面丙烯 / Acrylic on canvas
140 × 180 cm
S: I can see some obvious narrative content in some scenes, as if integrating a story into one picture. Do you think stories or narratives are important in your visuals?
C: Is it important or not? I think the interesting story is just the starting point of this painting. In the end, it was the result of countless magic modifications. However, if you didn't hear this story at the beginning, you wouldn't have the impulse to draw. For example, the starting point of one of the paintings was when you heard a story about a person punching another person to death, and in the end, the killer's hand was twice as big as the other. This was really shocking to me, but in fact, this painting had nothing to do with this incident in the end.
自大狂 / Hybris
2024
布面丙烯 / Acrylic on canvas
160 × 180 cm
S: I also saw some pencil drafts below being preserved in some scenes. What are your thoughts on this?
C: I wanted to make the picture look less neat, but in the end, I felt that this time it was still too neat. Try to break it down as much as possible in the future. After completing this work, I realized that the things I often drew were different from my imagination. I would try my best to achieve the imagined picture, and the neatness of the picture may also be due to this reason. I draw with my imagination, but I am also trapped in it, unable to tolerate accidents and differences. In the end, I will only suffer from obsessive-compulsive disorder.
冥王 / Hades
2024
布面丙烯 / Acrylic on canvas
160 × 180 cm
S: Do you think that the processing techniques of the image or the texture brought by the painting are urgent problems that need to be solved, or are they just auxiliary for your narrative expression?
C: At present, it is still used as an auxiliary for narrative expression, but I also believe that the texture of painting is one of the problems I need to solve. But rather than being a problem, I think it's more like an area with insufficient exploration. I always feel that if we treat it as a problem, we will always think of a solution. If we solve the problem and it passes, we may lose some possibilities. I think my thoughts on painting are more focused on composition? I don't know if this can be considered as the texture of painting, maybe I have been searching for a composition method that is even more unfamiliar to painting.
S: Do you think you're drawing?
C: It's hard to say, I hope to have fun through drawing. Good luck. Have fun.
生涯2 / Life2
2023
布面丙烯 / Acrylic on canvas
180 × 140 cm
关于艺术家 / About Artist
陈映舟，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。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。他的作品曾被广东当代艺术中心、X 美术馆、星美术馆等机构收藏。
他参加的个展包括：“脑内窒息”，可以画廊，（合肥，2022），他参加的群展包括：“作为意志和表象的世界”，可以画廊，（北京，2023）；“变态者绘画指南”，拟像空间，（北京，2022）；“无论盛开还是不盛开，花都是花”，可以画廊，（合肥， 2022）；“动情，1949 后 变 局 中 的 情 感 与 艺 术 观 念”， 中 间 美 术 馆，（ 北 京，2019）；“Nose Art Project 群展 | 姑且相信”，凹凸空间，（北京，2019）；“刚刚骑车突然有人问路，问 ： 前有公园吗”，可以画廊，（合肥， 2019）“夹山改梁 第一期”，中央美术学院版画展厅，（北京，2017）等。
Chen Yingzhou, born in Shenzhen, Guangdong in1995, graduated from the Third Studio of the Sculpture Department of the Central Academy of Fine Arts in 2019 and the Maryland Academy of Arts in 2021. Chen Yingzhou is committed to combining the image making thinking of Internet users and the drawing thinking of traditional easel painting to create works. He tries to use meme,trolling, mash up, kitchen sink and other early Internet content creation thinking to dispel political ideology, hot current afairs, philosophy and religion. The form of works is similar to caricature and pop art. Manual imitation of computer electronic drawing effect, combined with visual elements of comics and illustrations. His works have been collected by Guangdong Contemporary Art Center, X Museum,Start Museum, etc.
He has participated in solo exhibition include:Cerebral Asphyxia, Keyi Gallery,(Hefei, 2022). His group exhibitions include:"The World as Will and Representation", Keyi Gallery, (Beijing, 2023); "The Pervert's Guide to Painting", Simulacra Space, (Beijing, 2022); "Whether in full bloom or not, All flowers are flowers", Keyi Gallery, (Hefei, 2022); "Community of Feeling Emotional Patterns in Art in Post-1949 China", Inside-Out Art Museum, (Beijing, 2019); "Nose Art Project Group Exhibition | Believe It", Aotu Space, (Beijing, 2019); "When I was just riding a bike, someone asked me the way. Is there a park in front of me?", Keyi Gallery, (Hefei, 2019); "Phase I of Jasagala", Exhibition Hall of Printmaking Department of Central Academy of Fine Arts, (Beijing, 2017), etc.
关于可以画廊 / About KeYi Gallery
可以画廊 KeYi Gallery 是一间成立于2019年的当代新星空间，旨在为艺术家打造一个开放性的具有学术实验性的平台，致力推广多元独特的展览项目和艺术家作品，挖掘和培育年轻艺术家。可以画廊前身以私人收藏为主，20年间不断收藏那些具有一定学术价值的当代作品，并始终关注艺术当下及未来的发展趋势。
KeYi Gallery is a young contemporary art space established in 2019. It aims to create an open and experimental platform for artists and dedicates to promoting diverse unique art programs and works of art, exploring and developing young artists. KeYi Gallery gave priority to private collections previously and has been insisting on collecting contemporary artworks with high academic value while concentrating on art trends in the art world.
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