Page 268 - 二十世纪及当代艺术

艺术家简历 ARTIST BIOGRAPHIES

Lot 1628 at the age of nine, he scribbled over any object he could get his hands on and covered his
bedroom with paper doodles. He soon created a whole new visual phenomenon: his own iconic
DoodleLand, manifesting his vision of the world, where dense clusters of characters, objects
and patterns grow and multiply relentlessly.
Often described as ‘Graffiti Spaghetti’, Mr Doodle’s improvisational creations invade not only
canvases but furniture, books, subways, clothing and beyond, building an ever-expanding
universe where nothing is taken too seriously.

Mr doodle has held numerous sole exhibitions in London, Seoul and Tokyo. And has participated
countless art fairs, such as The London Illustration Fair (2016, 2017 and 2018), Art Fair Tokyo
2019, Art KYOTO 2019, Art Taipei 2019 and 2020 URBAN BREAK Art Asia in Seoul."

王光乐（b.1976） 1976年出生于福建松溪县，2000毕业于中央美术学院油画系。现生活居住于北京。绘画对于王光乐来讲，
WANG GUANGLE 更像是一个重复劳作的过程，他在水磨石系列中，一点点将水磨石的机理在画布上进行描绘，如同在书写
一个又一个文字，最后的呈现效果却带给观众以抽象的形式感，而不再是水磨石作为具象对象的存在。重
Lot 1511
复具象的极致后面，意外达到抽象形式的表现效果，即具象的放大化变为视觉感官上的抽象，抽象与具象
这对二元对立的绘画形式在某种程度上被王光乐打破。他的寿漆系列也是如此，在王光乐的记忆中，家乡
的老人会在一个微妙的时刻开始，每年给自己的寿材刷一遍红漆，直到自己故去。他自己用绘画的方式，
重新去表达这个渗透了东方生命哲学意味的地方风俗，用相同或者不同的颜料，有条理地一遍又一遍重复
地覆盖着画布，直到刷子无法落笔，最终形成我们现在看到的寿漆系列作品。无限性的重复并不代表单
一，反而带来更大程度上的丰富，刻度了无时无刻不从我们身边溜走的时间。水磨石系列与寿漆系列的表
现形式都极为严谨与细腻，是艺术家如苦行僧般坚持不懈重复书写的结果，不存在主流艺术的叙事性或者
宏大题材，而是把这样一个有时代痕迹的物——水磨石和渗透着东方古老文明的地方风俗，在强调不断进
行“画”的动作的前提下，割裂创作过程中作者的情感倾向与历史经历，最终形成不包含“自我”的新的
理性绘画图像。主要个展：2012年“王光乐”，佩斯画廊，纽约；2011年“王光乐在台湾”，索卡画廊，
台北；2009年“王光乐”，北京公社，北京；2007年“寿漆”，aye画廊，北京；2006年“汉语”，一月当
代画廊，北京。

1976 Born in Fujian. 2000 Graduated from Oil Painting Department, China Central Academy
of Fine Arts, BeijingNow works and lives in Beijing.For Wang Guangle, painting is like the
repetitive process of labor. In his Terrazzo series, Wang illustrates the texture of terrazzo
bit by bit, just like the process of writing one word after another. The final result presents
the audience with a sense of abstract form, no longer existing merely as a representation of
terrazzo. The extreme nature of these repeated representations has the unexpected effect of
abstracted expression. By amplifying this, Wang transforms art into abstraction of the visual
senses. To some degree, Wang also subverts the binary oppositions of painting forms, abstracts
and representations. His Coffin Paint series is a good example of this. In Wang’s memory, the
elderly people of his hometown would delicately start to paint red coats on their coffins every
year until the year of their own demise. Using his painting method, Wang re-appropriates
the local customs that permeate the Eastern philosophy of life. Using the same or different
pigments, Wang methodically paints canvases over and over again until his brush is no longer
able to make a mark. These actions eventually led to the Coffin Paint series. Infinite repetition
does not represent singularity. Instead it brings out a greater degree of richness, scaling and
the constant lapsing of time. The manifestations of the Terrazzo series and Coffin Paint series
are rigorous and delicate and a result of the artist’s ascetic-like perseverance to repeated
writing. It does not contain the narrative of mainstream art, nor a grand theme. Instead, he
takes an object that embodies the trace of time, terrazzo and local customs permeated with
ancient Eastern civilization, as, under the premise of emphasizing the constant “painting”