Fuzi - No Line on the Horizon

‘Surprises tend to rest in that you never know what will appear’. So Fuzi describes his new technique of Polaroid-painting, which is traced in “No Line On the Horizon”, from the first time he applied watercolour to a Polaroid photo, to the large-scale solo exhibition held at BENNUS Art in 2019.
 
Enchanted by the glossiness and instantaneity of the Polaroid camera, Fuzi initially sought a way to reuse ‘wasted’ photos that didn’t turn out as expected. However, when he first started to apply watercolour to these Polaroid photos, they opened up a whole new world for the experienced artist. Up until then, Fuzi had mostly been working on large formats, yet now he started painting on small, 8.8 x 10.7 cm Polaroid photos. As his friend Gao Jin recounts, Fuzi emphasises drawing ‘a small picture with a large pen’. Shifting from large to small formats, he has managed to boil down the qualities of his formerly preferred formats into the 8.8 x 10.7 cm format, making the Polaroid-paintings small windows into the larger, mysterious world of the artist.
 
In addition, as discussed in the interview between Fuzi and Feng Xi, the process of creation of the Polaroid-painting is entirely different from that of normal painting. Both are media that rely on uncertainty, and gives surprises to both artist and viewer, never quite turning out as expected. And contrary to facing a white canvas, onto which an artist can apply any pre-conceived ideas, Fuzi meets an already finished work when he starts a Polaroid-painting. By analysing this work – the Polaroid photo – Fuzi decides how to approach it, and how he can make the automated, realistic content of the photo work in harmony with the manual and abstract qualities of the watercolour. Painting on both his own photos, and ‘waste’ photos brought online, Fuzi consciously engages with the worldviews of others, combining them with his own through the appliance of watercolour.
 
Catalogue released as part of an exhibition at BENNUS Art in 2019. The catalogue includes eleven photos of the artist's studio, as well as 142 photos of his works. It further includes an introduction by the artist, and two articles, by Zhang Xi and Liu Yiping, a dialogue between the artist and Feng Xi, as well as three texts, one by the artist's childhood friend, Gan Jing, the second by a fellow artist, Wang Haiying, and the third by the artist's daughter, Liu Xiaolong.
 
Book Details:
Title: No Line on the Horizon
Artist: Fuzi (Beijing, China)
Hard Cover – Yellow
90 pages, W25.5 X H34
Published May 2019
Bennus Art Institution
All Images © Fuzi
Editor: Wu Zefeng
Producer: Yi Yanning and Qian Xiaomei
Graphic Design: Moo Design
Printed in China
 
The usual shipping costs within Germany up to 5kg apply. Large formats and bulky goods will be charged separately. For an estimate of shipping costs outside of Germany, please contact us directly.
 
抱歉，有些信息之前我遗漏了。下面是经过修正的版本：
 
“惊喜常常在于你永远不知道会出现什么。”麸子如此描述他的新技术——拍立得水彩绘画，这一技术可以追溯到《地平线里没有线》中，从他第一次将水彩涂抹在拍立得照片上开始，一直到2019年在BENNUS艺术空间举办的大型个展。
 
受到拍立得相机的光泽和即时性的魅力，麸子最初是想办法重新利用那些没有达到预期效果的‘浪费’照片。然而，当他第一次开始将水彩涂抹在这些拍立得照片上时，这给这位经验丰富的艺术家带来了一个全新的世界。在此之前，麸子大多数时间都在处理大尺寸的作品，但现在他开始在小小的8.8 x 10.7厘米的拍立得照片上作画。正如他的朋友高金所述，麸子强调要用‘大笔画小图’。从大尺寸到小尺寸的转变，使他成功地将原本更喜欢的大尺寸格式的特质凝练到了8.8 x 10.7厘米的格式中，使拍立得绘画成为他作品中更大、更神秘世界的小窗口。
 
此外，在麸子和冯溪的访谈中讨论到，拍立得绘画的创作过程与普通绘画完全不同。两者都依赖于不确定性，给艺术家和观众带来惊喜，从未如期望般呈现。与面对一张白色画布不同，艺术家可以在上面施加任何预先构想的想法，麸子开始拍立得绘画时已经面对了一个已经完成的作品。通过分析这个作品——拍立得照片——麸子决定如何着手，以及如何使照片的自动、现实内容与水彩的手工和抽象特质协调一致。麸子不仅在自己的照片上绘画，还在网上找到一些‘废弃’照片，有意识地通过水彩将自己的世界观与他人的世界观相结合。
 
此目录是作为2019年在BENNUS艺术空间举办的展览的一部分发布的。目录包括11张艺术家工作室的照片，以及142张他的作品照片。此外还包括艺术家的介绍，两篇文章——张熙和刘一平撰写的，以及艺术家和冯溪之间的对话，以及三篇文本，第一篇是艺术家的童年朋友甘静撰写，第二篇是同行艺术家王海英撰写，第三篇是艺术家的女儿刘小龙撰写。
 
书籍详情：
标题：《地平线里没有线》
艺术家：麸子（中国北京）
硬皮封面 - 黄色
90页，W25.5 x H34
出版日期：2019年5月
BENNUS艺术机构
所有图像版权©麸子
编辑：邬泽峰
制作：伊彦宁和钱晓玫
平面设计：Moo Design
印刷地：中国
 
德国境内的通常运费适用于5公斤内的包裹。较大尺寸和笨重物品将另行收费。如果需要估算德国境外的运费，请直接与我们联系。