◆朱钇名-Z
K：谈谈这次展览主题「排异反应」的构想？
Z：此次展览主题《排异反应》，这一概念是源自医学术语，原意是指异体组织进入具有免疫活性的宿主后，宿主免疫系统将其视为外来入侵者并进行抗体攻击的过程。这一现象在器官移植手术后尤为常见，患者在接受器官后常会遭遇剧烈的排异反应，感受到极大的痛苦。同样地，人与人之间，人与社会之间的相互影响也是类似的过程——即个人在排异过程中也会不可避免的异化，从而形成新的身份与自我认知。
K：看您2021年之前的作品风格和现在作品风格相比有着明显的变化，是什么影响了您作品风格的转变？
Z：我本科选择的是油画写实工作室，应试美术的教学使那时候的我对何多苓等写实主义艺术家的绘画产生了浓厚的兴趣。尽管那个时候接触了现代主义下不同的艺术风格，但是并未产生过多的共鸣。大三审美的变化、认知的积累和重温现代主义中大卫霍克尼的画作让我对绘画产生新的认识，注入了新的血液，我开始有意识的对作品和绘画习惯进行转变。
男肖像 / Male portrait
2018
布面油画 / Oil on canvas
50×50cm
K：您早期作品中人物有着具体的五官形象，而现在的作品中概括了人物的特征塑造，甚至没有五官的缘由是什么呢？
Z：之前的作品为了形象地表现人物，描绘了具体形象的五官，更多地描摹细节。现在的作品因为审美的转变，画面整体的需要，人物的五官不需要那么明显，因此概括了人物的特征塑造，当下追求画面的整体性，是审美倾向的造就。不再单单表现个体的具体，而是映射群体的特质。
地平线 / Horizon
2024
布面油画 / Oil on canvas
200 × 150 cm
K：这次展览部分作品中出现了两个及以上的形象，他们之间关系状态的表现是来源于您对当下人际关系的感受吗？展开谈谈其中的一两件？
Z：是的，他们之间关系状态的视觉表现来源于我对人与人之间，人与社会之间的互动与关系的提炼。《折扣店》中的两人象征着社会属性所需要的稳定的婚姻关系状态，窗外是恬然自得的风景。而实际生活中关系状态是形态各异且复杂的。而《糟糕的一天》中浸在海里的人被长着触须戴头盔的执行者抓住脚踝的画面，显现了不同物种间互相博弈的状态。
在这些作品的绘画过程中我会弱化这些带有一定特质的元素。运用联想的手法将这些元素重新组合，根据画面的需要调整色调，着重画面的整体性。表现不同环境对关系状态的塑造。
折扣店 / Discount Store
2023
布面油画 / Oil on canvas
150 × 150 cm
K：双联画《降临》中有着明显的叙事性，有什么特别的故事或者含义？
Z：素材是某位领导下车的样子，权力最高的拥有者，旁边的角色是保镖，黄色调寓意着“神”降临时所感知到的视觉效果，是神圣且温暖的画面。而在这个进化的过程中，人逐步拥有着最高权力，身处这样的环境，被塑造、被异化的过程下。成为“神”一样的存在。
降临 / Befall
2024
布面油画 / Oil on canvas
300 × 200 cm（双联）
K：《车头的人》《车尾的人》跟《降临》之间有什么联系？
Z：《车头的人》、《车尾的人》是《降临》中车旁边的保镖。是被工具化、被异化的人。我以第三视角去联想保镖的内心状态，从《降临》中探索这个职业的内在，感知到他们在处境里将自我特质弱化，他们的本我属性被职业特质所异化。与《降临》中的“神”有着很大的反差，在“神”的权威下，保镖不再是鲜明的个体，而是被统一、被异化的群像。
车头的人 / The person at the front of the car
2024
布面油画 / Oil on canvas
50 × 50 cm
K：看您早期作品有描绘花卉的作品，此次花神系列中花的元素来源和创作动因是什么？
Z：花神系列中，花的元素来源于演讲、会议中的“桌花”。《花神1》是演讲桌上花的形态，《花神2》、《花神3》明确的呈现出了会议桌花的形态。虽然它在场景中起到装饰的意义，但在我的作品中它的含义是危险的、丑陋的，是“怪物”的存在。通过提炼、异化桌花元素，与自然景观进行组合，形成诡异的、冷酷的却又浪漫的气质。
花神 3 / Goddess of Flowers 3
2024
布面油画 / Oil on canvas
180 × 90 cm
K：此次个展中作品的色调迥别很大，例如《风平浪静》、《捕获》，是什么影响了两者的的呢？
Z：这两件作品色调迥别很大的缘由是在绘画的过程中画面的不同需要和主题的表达。
《捕获》中“被捕获的对象”介于狼和狗之间的物种，“它”被驱赶到森林，回归到自己的归属地，但是“它”的特殊性，促使人来“捕猎”它，并进行遏制。整体色调亮的缘由是让这个激烈过程和环境的安逸、明亮形成了反差。而《风平浪静》是伴侣之间的博弈过程，看似两者相对而坐，风平浪静，实际暗潮涌动，摩擦不断。
捕获 / Capture
2024
布面油画 / Oil on canvas
150 × 150 cm
K：您此次的展览主题和作品中不断显现出“异化”，谈谈“异化”是什么？
Z：“异化”指个体或群体将自己的素质、力量或本质转化为与自身对立、支配自己的力量或状态。在哲学领域，异化常被用来描述一种主体与客体、自我与他者之间的分离和对抗状态。相似或相同的事物逐渐变得不相似或不相同。而在我的作品中，聚焦于人与人、人与社会之间的互动与关系。探寻在人与人、人与社会之间在互动的过程中，不同环境对个体的塑造与异化过程，从个人的视角来看待周遭的环境并探求自己的内心。
K：新的一年，对自己有什么样的愿景？
Z：正常画画，精益求精。好好生活。
K: Can you talk about the concept of the exhibition theme "Metamorphosis"?
Z: The theme of this exhibition is "Metamorphosis", a concept derived from the medical terminology that refers to the process by which a foreign tissue enters an immunologically active host and the host's immune system perceives it as a foreign invader and attacks it with antibodies. This phenomenon is particularly common after organ transplants, where patients often experience a violent rejection reaction and great pain after receiving the organ. Similarly, the interactions between people and between people and societies are similar processes – i.e, the individual is inevitably alienated during the process of rejection, resulting in the formation of new identities and self-perceptions.
K: What has influenced the change in style of your works before 2021 compared to the current style?
Z: I chose an oil painting realistic studio for my undergraduate studies, and the exam oriented art teaching sparked a strong interest in the paintings of realistic artists such as He Duoling at that time. Despite being exposed to different art styles under modernism at that time, there was not much resonance. The changes in aesthetic perception, accumulation of cognition, and revisiting David Hockney's paintings in modernism during my junior year have given me a new understanding of painting and injected new blood. I have begun to consciously transform my works and painting habits.
宇航员 / Astronaut
2018
布面油画 / Oil on canvas
80×120cm
K: In your early works, the characters had specific facial features, but in your current works, the characterization of the characters is summarized, aor even the absence of the five senses in your works?
Z: In previous works, in order to vividly depict characters, specific facial features were depicted, with more emphasis on details. Due to the shift in aesthetic preferences and the need for overall visuals, the facial features of characters are no longer as distinct in current works. Therefore, the characterization of characters is summarized, and the pursuit of holistic imagery is the result of aesthetic tendencies. It is no longer just about expressing the specifics of individuals, but mapping the characteristics of the group.
绿地 / Green Land
2024
布面油画 / Oil on canvas
200 ×150 cm
K: Are the expressions of the relationship between two or more images appearing in some of the works in this exhibition based on your feelings about current interpersonal relationships? Can you elaborate on one or two of them?
Z: Yes, the visual representation of their relationship status comes from my refinement of the interactions and relationships between people and between people and society. The two characters in "Discount Store" symbolize the stable marital relationship required by social attributes, and outside the window is a peaceful and contented scenery. In actual life, the state of relationships is diverse and complex. The scene in "A bad day" where a person immersed in the sea is grabbed by an executor wearing a helmet and tendrils, shows the state of competition between different species.
In the painting process of these works, I will weaken these elements with certain characteristics. Using the technique of association to recombine these elements, adjusting the color tone according to the needs of the picture, and emphasizing the overall integrity of the picture. Show the shaping of relationship states in different environments.
糟糕的一天 / A bad day
2023
布面油画 / Oil on canvas
140 × 90 cm
K: What is the special story or meaning behind the obvious narrative in the diptych painting "Befall"?
Z: The material is the appearance of a leader getting off the car, the owner of the highest power, and the character next to him is a bodyguard. The yellow tone symbolizes the visual effect perceived when the "God" descends, which is a sacred and warm scene. In this process of evolution, humans gradually possess the highest power and are shaped and alienated in such an environment. Becoming a god like being.
局部 / Local
降临 / Befall
2024
布面油画 / Oil on canvas
300 × 200 cm（双联）
K: What is the connection between "The person at the front of the car", "The person at the back of the car ", and "Befall"?
Z: "The person at the front of the car", "The person at the back of the car "is the bodyguard next to the car in"Befall".It is the person who is instrumentalized and alienated. I associate the bodyguard's inner state with a third perspective, exploring the inner workings of the profession in "Befall",and perceiving that they have weakened their self-identity in their situation, and that their egoic attributes have been alienated by their professional qualities. In contrast to the "God" in The Descent, the bodyguards are no longer distinct individuals, but a unified and alienated group under the authority of the "God".
车尾的人 / The person at the back of the car
2024
布面油画 / Oil on canvas
40 × 40 cm
K: Based on your early works depicting flowers, what are the sources and creative motivations for the flowers in the Goddess of Flowers series?
Z: In the Goddess of Flowers series, the element of flowers comes from the "table flowers" used in speeches and conferences. "Goddess of Flowers 1" is the form of flowers on the speech table, while "Goddess of Flowers 2" and "Goddess of Flowers 3" clearly present the form of conference table flowers. Although it serves a decorative purpose in the scene, its meaning in my work is dangerous, ugly, and the presence of 'monsters'. By extracting and alienating table flower elements, and combining them with natural landscapes, a strange, cold yet romantic temperament is formed.
花神 1 / Goddess of Flowers 1
2024
布面油画 / Oil on canvas
150 ×120 cm
K: The color tones of the works in this solo exhibition are quite different, such as "Calm Waves" and "Capture". What influenced the two?
Z: The reason for the significant difference in color tones between these two works is due to the different needs of the painting process and the expression of the theme.
The "captured object" in "Capture" is a species between wolves and dogs. It is driven to the forest and returns to its rightful place, but its uniqueness prompts people to "hunt" it and restrain it. The reason for the overall bright color tone is to create a contrast between the intense process and the comfortable and bright environment. And "Calm Waves" is a game between partners, seemingly sitting opposite each other, calm and peaceful, but in reality, there are hidden waves surging and constant friction.
风平浪静 / Calm sea
2024
布面油画 / Oil on canvas
150 × 200 cm
K: What is"Alienation "that constantly appears in your exhibition theme and works?
Z: "Alienation" refers to the transformation of an individual or group's qualities, strength, or essence into a force or state that opposes or dominates them. In the field of philosophy, alienation is often used to describe a state of separation and confrontation between subject and object, self and other. Things that are similar or identical gradually become dissimilar or different. In my works, I focus on the interactions and relationships between people and between people and society. Exploring the process of shaping and alienating individuals in different environments during interactions between people and society, viewing the surrounding environment from an individual's perspective and exploring one's own inner self.
K: What kind of vision do you have for yourself in the new year?
Z: Normal drawing, always endeavoring to do still better. Live well.
关于艺术家 / About Artist
朱钇名，1996 年出生于河南，分别于 2019 年、2023 年获得天津美术学院油画系本科及硕士学位，现工作生活于天津。他的创作聚焦于人与人、人与社会之间的互动与关系。通过提炼个人情感体验为视觉语言，并运用联想手法将日常生活中的元素进行重新组合，表现了不同环境对个体的塑造与异化过程。
他近期主要参加的群展包括：“崭新的建筑，具象盘踞在每一个楼层”，可以画廊，（合肥，2024）；“暗夜公园”，山上艺术空间，（厦门，2024）；“ 后浪拼图：新绘画的新面孔”，玉兰堂，（北京，2023）；“太平廣记”，魔灯院艺术客厅，（佛山，2023）；“画内：观念之外”，赛麟空间，（上海，2023）；“陌生的名单”，山上艺术空间，（厦门，2023）；“自由的陷阱”，叁拾空间，（北京，2023）；“风景画”，拾萬空间，（石家庄，2022）；“断片集”，伯年艺术空间，（北京，2022）等。
Zhu Yiming, born in Henan in 1996. He received bachelor's and master's degrees from the Department of Oil Painting of Tianjin Academy of Fine Arts, at 2019 and 2023. Now he lives and works in Tianjin. His creations focus on the interactions and relationships between people and society. By refining personal emotional experiences into visual language and using associative techniques to recombine elements from daily life, he expresses the process of shaping and alienation of individuals by different environments.
His recent group exhibitions include:"Brand newarchitecture, Figurativism loom on every floor", KeYi Gallery, (Hefei, 2024); "Dark Sky Park", Shanshang, (Xiamen, 2024); "Rear Wave: New faces of new painting", Line Gallery, (Beijing, 2023); "Extensive records of the Taiping Era", Moordn Art, (Foshan, 2023); "The Essence of painting – Beyond the concept", Sailing space, (Shanghai, 2023); "A list of strangers", Shanshang, (Xiamen, 2023) ; "Trap of being", Sense Gallery, (Beijing, 2023); "Landscape painting", Hunsand Space, (Shijiazhuang ,2022); "Fragments", Bonian Space, (Beijing, 2022), etc.