莫隐：荒诞 · 视觉 Mo Yin: Absurd · Vision
莫隐：荒诞 · 视觉 Mo Yin: Absurd · Vision
原创 艺扑 2017-09-18
莫隐
Mo Yin
男，1992年生
2014年毕业于华南师范大学 获学士学位
2017年毕业于中央美术学院 获硕士学位
专业方向：中国形象的表现与表达
指导教师：马路
现为北京林业大学、
广西艺术学院外聘教师
广州国家青苗画家
Born in 1992
In 2014, graduated from School of Fine Arts of South China Normal University with a bachelor's degree
In 2017, Graduated from Oil Painting Department of CAFA with a master's degree
Guidance teacher: Ma Lu
Major Direction: Expression and Communication of China Image
Being a part-time teacher at Guangxi Academy Arts University and Beijing Forestry University now
《迷惑1》 100×80cm 布面油画
2012
《迷惑2》 110x90cm 布面油画 2012
《迷惑3》120×100cm 布面油画 2012
《迷惑4》 150x130cm 布面油画 2012
《迷惑5》 150×100cm 布面油画 2015
《迷惑6》 100×80cm 布面油画 2015
《迷惑7》100×80cm 布面油画 2015
有人说:绘画的意义就在于让看不见的变成看得见的。说得有些道理，总比＂把看得见的东西变成平面的＂强了许多。看不见的东西是什么，每个人都各自的认识。存在，又不让人看见的是＂隐＂，变成看得见的就成＂莫隐＂。我是从莫隐的名字去想他的画的，因为名字会影响人，是一种心暗示，反过来，人也会影响名字。当然，人与名字未必一致，比如:莫言，反而话多。莫隐的画，总是把荒诞的时空关系，变为看得见的。时空关系是因为具体真实的形象做了不真实组合排列才成为荒诞。荒诞的时空看不见，荒诞的时间其实是人的认识，自然本身是无所谓荒诞的。莫隐本人很认真，他越认真，时空就越荒诞，越能成为可以看见的绘画。
——（文／马路）
Some people say: the meaning of painting is to let the invisible become visible. It is better to say something more than "to see the things into a flat" strong. What is the invisible thing, everyone knows what they are. Exist, and do not let people see is "hidden", become visible to become "Mo hidden." I am from Mo's name to think of his paintings, because the name will affect people, is a kind of heart implied, in turn, people will affect the name. Of course, people and names may not be consistent, such as: Mo Yan, but more words. Mo's paintings always turn the absurd space-time relationship into visible. Space-time relationship is because the specific real image to do a combination of untrue was absurd. Absurd time and time can not see, absurd time is actually a human understanding, nature itself is not the so-called absurd. Mo secretly I am very serious, the more serious he is, the more absurd the time and space, the more can become a painting can be seen.
—— (text / Ma Lu)
《迷惑8》120×100cm 布面油画 2015
《迷惑9》 100×80cm 布面油画
2015
《迷惑11》180×100cm 布面油画
2016
《迷惑12》 160×100cm 布面油画 2017
《迷惑13》 160×100cm 布面油画 2017
《迷惑14》 160×100cm 布面油画 2017
《迷惑17—栽竹》 120×100cm 布面油画 2017
《迷惑18—隐竹》 120×100cm 布面油画 2017
时间在莫隐的作品中一直有条隐秘的线索，作品中虚化的物象、错位的空间、漂移的形体既有一种偶发的趣味，也在一种荒诞中寻找新的秩序。时间是一种关乎生命的对话，没有生命感的存在不会对时间如此敏感。莫隐擅长做时间中的隐者，他可以把思考、经历、发现和趣味像整理物品一样，用色块和笔触还原成一个封存的视域。
对于莫隐来说，作品既是视觉日记，也是视觉小说。他曾说：“所有的日记都是写给自己的信”，时间中存在太多的变数，过去、现在和未来从来不是连贯的，而文字的日记和视觉的小说则构成了一种生命对话，这场对话关注时间、自身以及生命的流变。日记是写给自己的信，也是给自己讲诉一个日渐陌生的故事。变数，是这场对话中最有趣味的地方，也让不同时空中自身之间的对话成为可能。从自己出发，从日常出发，莫隐把不同的物象、场景、空间通过窗子、门、镜子、抽象的边框等重组在一起，就是在“变数”中追求一种视觉小说的韵味。
——（文／高登科）
Time in Mo's works has been a secret clue, works in the virtual object, dislocation of the space, drift of the body has a kind of occasional fun, but also in an absurd to find a new order. Time is a dialogue about life, there is no sense of life will not be so sensitive to time. Mo is good at the time of the hidden person, he can think, experience, discovery and fun like finishing items, with color and strokes to restore a sealed view.
For Mo Yin, the work is both a visual diary and a visual novel. He said: "All diaries are written to their own letter", there are too many variables in time, past, present and future is never coherent, and the text of the diary and visual novels constitute a life dialogue , This dialogue concerned about the time, their own and the evolution of life. Diary is written to their own letter, but also to tell yourself an increasingly unfamiliar story. Variables are the most interesting places in this conversation and make it possible for dialogue between themselves in different time and space. Starting from their own, starting from the daily, Mo hidden to different objects, scenes, space through the windows, doors, mirrors, abstract borders and other reunion together, is in the "variable" in the pursuit of a visual novel charm.
—— (text / Gao Dengke)
《隐迹1》 50×50cm 布面丙烯 2015
《隐迹2》40×40cm 布面丙烯 2015
《隐迹3》 50×50cm 布面油画 2016
《隐迹4》 50×50cm 布面油画 2016
《隐迹》系列 30×30cm×7 布面油画 2016
《金属组合》 100×80cm 布面油画 2013
荒诞空间，是背离人眼直观感知的空间，却是给人以启发的空间。它超越了人类视觉的局限，把多维度的空间用视觉的方式浓缩到一个画面中，使它们共存。它让我们知道，这个宇宙的存在中，不仅是我们自己，还有他者。
我的画面形象很多都是矛盾的，荒诞的记忆片段，多维度时空组合把它们之间的真实模糊，并试图融入中国古代绘画意境中的散点透视来表现与表达它们。一方面以综合材料为媒介，努力拓展它们在当代艺术观念上的可能性，另一方面以油画为语言，从技术、形式和视觉等多个角度重建自身的语言系统。
——（文／莫隐）
Absurd space, is the departure from the human eye intuitive perception of space, but it is to inspire the space. It transcends the limitations of human vision, the multi-dimensional space with a visual way to concentrate into a picture, so that they coexist. It tells us that the existence of this universe, not only ourselves, and others.
Many of my images are contradictory, absurd memory fragments, multi-dimensional space-time combination of their true ambiguity between, and try to integrate into the ancient Chinese painting mood in the perspective of scatter to express and express them. On the one hand to the integrated materials as a medium, and strive to expand their concept of contemporary art in the possibility of the other hand, oil painting for the language, from the technical, form and visual perspective from multiple angles to rebuild their own language system.
—— (text / Mo Yin)
获奖及参展经历：
2016年 获中央美院全额奖学金
2015年 获中央美院半额奖学金
“青春·足迹”主题创作展，获集体一等奖
广东省首届高校油画作品学院展，获金奖
漆画教学优秀作品三校联展，获铜奖
广东省大学生美术作品双年展，获优秀奖
作品曾在中央美院美术馆、广东美术馆、今日美术馆、天津美术馆、炎黄美术馆、山水美术馆、太庙艺术馆、元典美术馆、广州艺术博物院、广美美术馆、北京农展馆、保利国际会展中心、义乌国际博览中心……展出。