展览时间：2021年8月25日-2021年9月21日
开幕时间：2021年8月25日 16:00
展览机构：成都蓝顶美术馆
展览地址：四川成都锦江区三圣花乡荷塘月色A区 蓝顶美术馆
策展人：杨卫
参展人员：宋宛瑾
展览地点：成都蓝顶美术馆-二号厅
画展海报
展览介绍：
熟悉的陌生
文／杨卫
宋宛瑾是一位极其敏感的艺术家，她的绘画题材取自于她熟悉的日常生活，却流露出了一种陌生、孤独、冷寂而又无所事事的意向。这是当今中国人特有的精神面貌，与传统社会不同的是，今天的中国人面临着一个前所未有的物欲时代，商品经济的渗透与互联网信息的裏挟，都架空了人们的存在意识，再加上之前独生子女政策的影响，使整整一代人孤亲朋少、灵魂无处安身。宋宛瑾就是生于这样一个时代，从小伴着互联网长大，感受着物质的困扰与社会的不断变迁，因此，她笔下的人物也好，景色也罢，都呈现出了一种“事不关己、高高挂起”的疏远感。
《蓝气球》4号 宋宛瑾 70cm×110cm 2021年作 布面丙烯
《网》2号 宋宛瑾 120cm×150cm 2021年作 布面丙烯
就绘画风格而言，宋宛瑾沿袭了超现实主义的传统，刻意营造出一种悬而未决的人生状态。比如强调人与人、人与物和人与景之间的陌生关系；比如去掉许多人物的倒影，以及强化部分倒影后与人形成一种莫名的紧张关系，等等。诸如此类都使得宋宛瑾的画面形成某种突兀感，脱离开人生的真实情境，而呈现出一种梦境般的游离状态。与此同时，在语言的处理上，宋宛瑾釆用了广告式的平涂方式，加之大量冷色调的运用，从而更使其笔下剔除了人为的激情因素，而映射出一种静穆冷峻的意象，画面人物则往往茕茕孑立、形影相吊……
毫无疑问，艺术是宋宛瑾的心灵避难所，她在这个无处藏身的物欲时代用绘画寻找精神寄托，也不可避免地感染了时代因素。或许，这正是宋宛瑾的矛盾，也是她创作的动力。某种意义上说，是因为厌倦了纷繁的物质世界，宋宛瑾才回归于艺术创作，而艺术又使她变得更加敏感，产生了更为深刻的问题意识。因此，宋宛瑾的作品既是她为自己打造的安乐椅，也是唱给时代的一曲挽歌。
2021.7.23于北京通州
《网》3号 宋宛瑾 100cm×80cm 2021年作 布面丙烯
Familiar Unfamiliarity
Wanjin Song is an artist of extreme sensitivity with paintings drawn from daily life while showing an attitude of strange, lonely, indifference, and idleness, which is the unique spiritual outlook of today's Chinese people. Different from the traditional society, today's Chinese people are facing an unprecedented era of material desires. The commodity economy and Internet information have swallowed people's sense of existence. Besides, the one-child policy has deprived the whole generation of traditional family relationships and makes every person feel lost to some point. Wanjin Song is born in such an era when people grow up with the internet, material desires, and the vicissitudes of society, therefore her characters and sceneries wear a tone of apartness of "non of my business" always.
With her painting style following the tradition of surrealism, Wanjin Song deliberately creates an unresolved life state. The paintings emphasize the strange relationships among people, things, and sceneries., or form an inexplicable tension between the reflections and the characters by removing or intensifying part of the reflections, etc., which makes her pictures drift away from the real-life presenting a state of sleepwalking with a sense of alienation. Regarding the language processing, Wanjin Song adopts the flat painted method of advertisement plus extensive use of cool tones to create solemn and quiet imageries weeding out the artificial passion in which the characters are always lonely and reclusive.
There is no doubt that art is Wanjin Song's spiritual refuge where she pins her spiritual world on painting in an era full of material desires and is inevitably infected with the factors of times, the contradiction from which derives the driving force for her creation. In a sense, Wanjin Song retrieves her artistic creation from the tiresome complicated material world, and art makes her more sensitive with a deeper critical consciousness. Therefore, Wanjin Song's artworks could be seen as analogies of both easy chairs for herself and elegies for the times.
By Wei Yang Tongzhou, Beijing July 23, 2021