展览时间：2021年12月9日-2022年2月22日
展览机构：熏依社画廊
展览地址：上海徐汇复兴中路1363弄克莱门公寓3号108室
策展人：张婷
学术主持：张平杰
主办单位：上海熏依社画廊
出品人：Shun
展览海报
展览介绍：
回家的路上 -【通道】
--戈子馀个展序
一本心经写于辛丑初夏，艺术家在印章盒里挑选了几款压印，心经就来到了我处。深秋的艳阳天，赶赴艺术家工作室，遇见原作即是坚持做这份工作的最大乐趣。工作室入口处似乎无人居住的门脸儿，一度让我以为是错误的地址信息，完全脱离生活感的工作室里可以感受到艺术家对创作本身的投入，区别于生活，更高于日常的状态。
光素系列对绘画本身的摒弃，当代和理智。平面的立体错觉化即是角度与色彩以及空间产生爱恋关系的过程。感性的情人眼里弥漫出【立体与光】，那束光则是引诱你【愿者上钩】的通道。也是通往自己夙愿的通道。悠远神秘且无尽然。
《光素 h05 三角形 Triangle》戈子馀 105cm×105cm×105cm 2018年作 综合材料
对于隧道的着迷，不仅只是因为未知“出口”的神秘性引诱，更多的时候是穿梭其中时，一些不知来由的光进入视觉，而此刻空间和时间都凝绕在周围，在这狭窄的通道中带给你虚虚实实的眩晕感。像一杯陈年的可口小酒让你微醉和飘飘然。
近两年之久的全球规模的新冠疫情，致使人们的生活发生了巨大的变化，隔离的空间和时间，本就疏离的个体更加孤立，我们变得格外敏感和脆弱。艺术家称这两年没有离开过无锡，却有多处的展览进行。若没有网络的普及，这种形式是不可能的。我却在东京和上海之间来回，已经历了三次隔离宾馆的生活，还会继续下去，却不知还要继续多久。我们思考生死，它离我们从未如此真实逼真。身体性即物性，精神性的载体需要修行。艺术家的光素，与空间感的掌控，对于当代作品的描绘行为本身的摒弃，又通过心经的书写和当代水墨的挥洒，留存平衡。复杂却也纯粹。
终究，我们都在作品里倾述表达平常没能表达的一些话语，情绪。一场对话没有说到最后的话，一个心里想要的完整表达。毕竟，在这信息蔓延的社会里，能够静静地听你把话说到最后的人，不多。在现实生活中，人们把真实埋在最心底，需要一点点挖掘，带着面具生活。有时对利害关系不太敏感的你，一不小心会搞得伤痕累累。然后，在默默的疗愈过程里思考自我与外界，思考内部与外部。那自愈过程正是人心成长的过程，希望能够做到【淡如水】。疫情中说的【社会距离】何尝不适用于人与人的关系性上。然生而为人对于个体与群体，时间与空间的探索和思考，挣扎和试探，也正是生而为人的最大乐趣之一吧。
戈子馀的作品里浓缩着他儿时的心灵深处的印记，搅拌了城市喧哗中的喜怒哀乐。事实上，那个伸向远处的通道，何尝不是回家的路。不一定豪华却让自己本真的，可以心安的【家】。我们都在路上，回家的路上。
--Shun 写于角里工作室
《光素 h09》戈子馀 80cm×80cm 2021年作 综合材料
On The Way Home - [Channel]
--Preface to Ge Ziyu's Solo Exhibition
A Heart Sutra was written by the artist in the early summer of 2021，he selected several stamps in the seal box, and the Heart Sutra came to me. On the sunny day of late autumn, rushing to the artist's studio to meet the original works is the greatest joy of persisting in doing this job. The seemingly uninhabited door face at the entrance of the studio made me think it was the wrong address information. In the studio completely out of the sense of private life, you can feel the artist’s investment in the creation itself, which is different from life and higher than the daily state.
The Pixel of Light series rejects the painting itself, contemporary and rational. The three-dimensional illusion of the plane is the process of having a love relationship between viewpoint, color, and space. The eyes of the sensitive lover are filled with [three-dimensional and light], and that beam of light is the channel to lure you [the one who wishes to get the bait]. It is also a channel to one's long-cherished wish, remote, mysterious and endless.
The fascination with the tunnel is not only because of the mysterious temptation of the unknown "exit", more often when passing through it, but some unknown light also enters the vision, and at this moment, space and time are condensed around, in this narrow passage which brings you a sense of dizziness. Like a glass of old delicious wine, it makes you slightly drunk and airy.
The global scale of the Covid-19 in the past two years has caused tremendous changes in people's lives. The space and time of isolation have made the alienated individuals more isolated, and we have become extremely sensitive and vulnerable. The artist has not left Wuxi during this period, but there are a number of his exhibitions going on. Without the popularity of the Internet, this situation is impossible. I have been back and forth between Tokyo and Shanghai, and I have experienced three times of life in a quarantined hotel, and I will continue, but I don't know how long it will take. We think a lot about life and death, it has never been so true to us. The physical nature is also the materiality, and the carrier of spirituality requires practice. The artist's Pixel of Light series, the control of the sense of space, the rejection of the depiction of contemporary works itself, and the transcribing of the Heart Sutra and the swaying of contemporary ink-wash painting, preserve the balance, complex but pure.
Eventually, we all express in the works what we usually fail to confide, which could be a dialogue that did not come to the end or a complete expression that I wanted in my heart. After all, in this information-spreading society, there are not many people who can quietly listen to you to the last word. In real life, people living with a mask, bury the truth which needs to be dug little by little in their hearts. Sometimes you, who are not very sensitive to others’ interests, will uncarefully get scarred. Then, in the silent healing process, you think about yourself and the outside world and think about the inside and outside. The self-healing process is exactly the process of human heart growth, and I hope to be able to achieve [as calm as still water]. The [social distance] mentioned in the epidemic applies to the relationship between people. However, being human beings, we explore and reflect about individuals and groups, time and space, struggle and experiment, which is also one of the greatest pleasures of being human.
Ge Ziyu's works are condensed with the imprints of his childhood soul, mixing the joy, anger, sorrow, and joy in the hustle and bustle of the city. The passage that stretches into the distance is the way home. Not necessarily luxurious but let yourself return to the real, you can feel at ease [home]. We are all on the way, on the way home.
--Shun in Zhujiajiao Studio
《光素 h017》戈子馀 60cm×60cm 2021年作 矿物粉 媒介剂
艺术家自述:
我的作品并非平面绘画，而是一个承载光的装置：给流浪的光造很多房子请它们住进来。
或模刻空间，或自制粘合剂混合矿物粉、松烟粉、甚至植物花粉叶粉、尘土等不同媒介，用自制工具一遍遍刮塑出一道道不同深浅的槽，同一色彩在不同深浅的空间中呈现不同变化，同而不同，以此改变绘画颜料历来被艺术家奴役的宿命，让色彩在空间中自在呈现其物性，格空致色。
在我的每件作品中您所见到的丰富色彩变化只是一种颜色，无意中打破了“眼见为实”的思维定式，这正与金刚经：“凡所有相皆是虚妄”意合。
--戈子馀
My work is not a two-dimensional painting， but a light-carrying installation: build many houses for the wandering light and invite them to live in.
By molding space， or mixing self-made adhesive with mineral powder， pine-soot ink powder， even plant pollen， leaf powder， dust， and other different media， and using self-made tools to scrape out grooves of different depths over and over， the same color will appear in different shades of space， the same but different. In this way， the fate of painting pigments that have always been enslaved by artists is changed， so that colors can freely present their materiality in the space， and the colors themselves can be released by investigating the space.
The rich color changes you see in each of my works are just one color， which unintentionally breaks the thinking pattern of “seeing is believing”， which coincides with the Diamond Sutra: “Every phenomenon is virtual”.
--GE Ziyu
《光素·空间 h024》戈子馀 35cm×35cm 2020年作 综合材料
无为之境
张平杰
在二十一世纪的第二个十年，一批在中国出生的艺术新星正在冉冉升起，他们有的已在国际上初露头角，有的正在向我们走来。
与上一代不同的是，他们一出手就具有了国际范，并以各自的方式嵌入了当代艺术的潮流。戈子馀就是其中之一员，从安徽农村走出来的他，幸运的是生长在这个互联网年代，等他能够抬头远眺时，他已经能看到整个世界。当艺术的时空不再隔离，艺术家的素质就成为了艺术品的支撑点。
我曾经在一篇文章中说过；今天一个人的成功是综合因素的结晶，但执着，视野，知识结构这几点缺一不可。戈子馀在接触当代艺术之前，对传统书法已具备了相当深的功力，这使得他能够静心感悟，探寻虚、空的真谛。修炼书法，养成人对形式与材料之间轻重缓急的细微体察。
静谧的深邃，虚空的妙境，书法为它打开了一扇门，如细雨滋润渗透到后来作品的方方面面。
序列艺术是基于几何算数为前提的工业化的产物，分动感序列与光感序列，动感序列注重体积运动的纵横交错；光感序列则展示光晕的灼度与深度。属于冷抽象。在欧普艺术年代，光的呈现完全是一种机械物理的形态，而今天对于光序列作品，重要的不在于光的炫目，不是它的物理性，而是它蕴含的虚空之境，在戈子馀的作品里，其独到性在于恰如其分地对材料的使用，让媒材本身成为光与色的载体，光不是描绘对象，而是物理现象。光不仅仅停留在一个平面，它洒落在一行行起伏的空间，深浅不一的沟槽犹如被按下的琴键，同时散发出悠远的和声。光影与材料空间之间的微妙转化，交织成轻柔而幽雅的旋律。在庄重和静谧的光晕里，有一种超越尘世的清澈。
西方文化用物来度量空间，东方文化是用心来体测空间。所以，东方审美重境界，境界是由心而生，是心的映像。
戈子馀的所有探索都是在追寻内心的维度，他曾尝试多种形式与材料；水墨、装置、综合材料等，从笔墨纵横的热抽象到序列有致的冷抽象，从二维到三维空间，无不是印证虚空之境，最终在综合材料的光序列中他获得体悟。当虚空作为主题时，其作品无不显示艺术家的“格”，光影则是表象，是呈现的媒介，艺术家所展示的是对无尽虚空的终极关怀。
凿槽划线，光影为界；
何处心安，无为有相。
这个“相”，就是其作品呈相。
--2021.12 於纽约
The Realm of Non-Action
by ZHANG Pingjie
In the second decade of the 21st century， a number of new art stars born in China are on the rise. Some of them have made their debut in the world， and some are coming to us.
Different from the previous generation， they had an international style as soon as they shot to fame， and they have embedded themselves in the trend of contemporary art in their way. Ge Ziyu is one of them. He came out of rural Anhui. Fortunately， he grew up in this Internet age. When he can look up， he can already see the whole world. When the space and time of art are no longer isolated， the quality of the artist becomes the supporting point of the artwork.
I once said in an article: Today a person’s success is the crystallization of comprehensive factors， but persistence， vision， and knowledge structure are indispensable. Before Ge Ziyu came into contact with contemporary art， he already had a considerable skill in traditional calligraphy， which enabled him to calmly sense and explore the true meaning of emptiness. Practicing calligraphy， cultivate a subtle understanding of the priorities between form and material.
The tranquil profoundness， the spiritual realm of emptiness， calligraphy opened a door for him， as drizzle， nourishing and permeating all aspects of his later works.
Order art is a product of industrialization based on the premise of geometric arithmetic. It is divided into dynamic order and light order. The dynamic order focuses on the crisscross of the movements of some volume； the light order shows the burning degree and depth of the halo. It belongs to cold abstraction. In the Op Art era， the presentation of light was entirely a form of mechanical physics， but for light order works today， what is important is not the dazzling of light， not physical issue， but the emptiness contained in it， in Ge Ziyu's works， the uniqueness lies in the proper use of materials， allowing the medium itself to become a carrier of light and color， light is not an object of depiction， but a physical phenomenon. The light doesn't just stay on a flat surface， it spills on the rows of undulating spaces， and the grooves of different depths， as if the keys of a piano are being pressed， it exudes long-distance harmony at the same time. The subtle transformations between light and shadow， materials and space are intertwined into a soft and elegant melody. In the solemn and quiet halo， there is a kind of clarity that transcends the world.
Western culture uses the object to measure space， while Eastern culture uses the heart to measure space. Therefore， Eastern aesthetics emphasizes the spiritual realm， and the realm arises from the heart and is the reflection of the heart.
All of Ge Ziyu's explorations are in pursuit of the inner dimension. He has tried various forms and materials； ink， installation， comprehensive materials， etc.， from the vertical and horizontal hot abstraction to the cold abstraction of order， from two-dimensional to three-dimensional space， that all confirm the realm of the emptiness， and finally， he gains insight into the light order of the comprehensive material. When emptiness is the theme， all his works show the artist's “ investigation ”， light and shadow are the appearances， the medium of presentation， and what the artist shows is the ultimate concern for the endless emptiness.
Gouge grooves and draw lines， light and shadow are the boundaries；
Where is the peace of mind， and no action with the phenomenon.
This “phenomenon” is the appearance of his works.