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王音：红牡丹，绿牡丹
从花的表情到人的情态，从历史的姿态到时间的形状，《王音：红牡丹，绿牡丹》试图联接起艺术家跨越近二十五年的意象。不经意间，我们得以进入到几段看似互不相同的时刻——它们以各自的情境、各自的切入点展开，而此时此刻，又共同构成观看与思考王音绘画的多重路径。
在与这些绘画的相互凝视过程中，身体似乎成为风景，凝结着人之所以被塑造的一切痕迹。王音从深层记忆的沉潜与反复打捞中，返还出一种宁静的张力，藉此交接着过去和未来的时间——在这相互的凝望中，我们可进一步体会从时间深处散发出来的芬芳和对未知的期待。
王音，花，2001，布⾯丙烯，180 × 250 cm。
Wang Yin, Flower, 2001, acrylic on canvas, 180 × 250 cm.
王音，绿牡丹，2024-2025，布面丙烯，120 × 150 cm。
Wang Yin, Green Peony, 2024-2025, acrylic on canvas, 120 × 150 cm.
红牡丹
2000年，与一位民间画师的相遇，开启了王音以“花”为主题的一系列创作。牡丹是民间画师擅长的题材。在展出的这些作品中，通常由王音先画好“天地”——以地平线暗示典型的透视规则；而民间画师则在这套不同于他所熟悉的画面秩序中，描绘他所喜爱的牡丹。牡丹的形状与色彩完全保留了画师的技艺与趣味。
有时，王音也会在画师完成的基础上加入一些自己的笔触。这样的结果，与其说是为了协调画面，不如说客观上保留了双方错位的痕迹。如今，当我们重新面对这些作品时，更能体会这些痕迹如何深刻地诉说着彼此不同的生命经验与文化境遇，由此显现出当代绘画所面临的观念、技法、权力与身份的复杂纠缠。彼时，为了挣脱九十年代形成的“风格”，王音选择重回“民间”，似乎成为另一种激进的方式。
绘画的主体性在此被悬置。以王音署名的“艺术家”，处在缺席与在场之间。在个人笔触与集体审美之间，这些繁盛的花朵停留在宽广而略显荒疏的大地上，在一个四季未被明确界定的时空中，成为一种未被命名的表情，也成为记录艺术观念与行动轨迹的证词。
边地
《父亲1》（2010）描绘了父辈艺术家在公园写生的场景：画布背对观众，他的目光投向远方；而背景中出现的“边地”少女形象，则带来一丝突兀。她们蹲伏着，望向画布，也望向那隐含的观众；她们的面目和那位艺术家一样模糊。
王音的父亲是一位深受“苏派”影响的画家，王音以此画法回应自己在绘画实践中的时代印迹。但他并未依循现实主义的叙事逻辑，而是将自己置于绘画认知的“边地”。在他的笔下，曾经熟悉的绘画风格变得陌生，与我们的感知系统形成一种“间离”。但王音并不试图解释或分析这些影响，而是通过绘画实践去吸纳、消化并呈现它们。
这是另一条对历史省思的路径，也是另一种意义上的“边地舞蹈”。置身于不同的时代，人们都在思索自己的当代。王音有意识地承接绘画所要面临的时代命运，同时试图让图像的内在系谱显露出来。他在中国近现代绘画的型变、油画民族化的历程与“苏派”影响的叠层中，不断考掘、想象与重构，从而重新追问我们如何透过绘画投向他者以及历史的目光。所谓“边地”，既可以是现代政治地理学意义上的边疆，也可以是意识所未觉察之处——也许它就潜伏在日常之中。
绿牡丹
在《绿牡丹》(2024-2025)中，代际关系不再指向特定的人群或身份，而转化为一种画中人相互依存、相互支撑的感受。此刻的绘画仿佛褪去了历史的重量，以更轻盈的姿态暗示一种沉浸于时间之中的状态，让历史的叠层隐入画面的深处。
在与这些绘画的相互凝视中，身体成为风景，凝结着人之所以成为人的痕迹。从历史中逸出的姿态更显沉静，保留着时间塑造的形迹，还原出关于人自身形态的经验，仿佛意味着：人必须再次面对自身的一切。
在深层记忆的沉潜与反复打捞中，王音提炼出一种近乎“回首向来萧瑟处，归去，也无风雨也无晴”的体悟，返还出一种宁静的张力，藉此连接起过去与未来的时间。在这相互的凝望中，我们也能体会自时间深处散发出的芬芳，以及对未知的期待。
关于艺术家
王音，1964 年出生于山东济南，毕业于中央戏剧学院，生活、工作在北京。
王音最初接受的是舞台设计训练，他将情感体验与思想探问融入现代油画的语言之中，进而将历史形式转化为关于时间与存在的个人省思。对他而言，绘画既是时间性的，也是存在性的行动——一种试图捕捉生活中那些往往未被意识到的情感经验的方式。
王音作品©艺术家
图片由艺术家和维他命艺术空间惠允
维他命艺术空间
王音：红牡丹，绿牡丹
时间
2025 年12月7日–2026年3月8日
地点
镜花园，空间1
地址
广州市番禺区化龙农业大观园内
日常开放时间
周三至周日，13点至17点 （周一，周二闭馆）
如遇节日或特殊情況将可能调整开放时间，届时敬请关注公众号和网站上的通知。
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Wang Yin: Red Peony, Green Peony
From the expression of flowers to the countenance of human figures, from the posture of history to the shape of time, Wang Yin: Red Peony, Green Peony seeks to weave the artist’s imagery across nearly twenty-five years. Unintentionally, we find ourselves entering several moments that appear disparate—each unfolds through its own context and point of departure, yet together they form multiple pathways for seeing and thinking through Wang Yin’s painting practice.
In the mutual gaze between viewer and painting, the body appears to become a landscape, gathering all the traces by which a person is shaped. Through the deep-mining and repeated retrieval of memory, Wang Yin returns with a quiet tension—one that links the times of the past and of the future. Within this exchange of gazes, we may sense the fragrance that emanates from the depths of time, as well as an anticipation toward the unknown.
Red Peony
In 2000, an encounter with a local folk painter opened a series of flower-themed works for Wang Yin. The peony was the folk painter’s favored subject. In the works shown here, Wang typically painted the horizon first—using the horizon line to signal a classical system of Western perspective—while the folk painter depicted the peonies within a pictorial order unfamiliar to him. The forms and colors of the flowers fully retain the painter’s own techniques and sensibilities.
At times, Wang added his own touches after the folk painter had finished his part. Rather than creating a harmonious picture, this process preserved the traces of misalignment between the two hands. Seen today, these traces speak vividly to distinct life experiences and cultural backgrounds, revealing the complex entanglements of concept, technique, power, and identity within contemporary painting. At that moment, Wang Yin sought to break away from the “style” he had formed in the 1990s; returning to the “folk” became an almost unavoidable and radical choice.
Here, the subjectivity of painting is suspended. The “artist” named Wang Yin hovers between absence and presence. Between personal gesture and collective aesthetic, the flourishing flowers rest on a wide, slightly desolate terrain, within a temporality where seasons are left undefined. They become a nameless expression, and a testimony to artistic concepts and trajectories.
Borderland
Father 1 (2010) portrays an older-generation artist sketching in a park: his canvas faces away from the viewer as his gaze extends toward the distance. In the background, however, the sudden appearance of “borderland” girls introduces a sense of dissonance. They crouch, looking toward the canvas—and toward the unseen viewer—their faces as indistinct as that of the artist.
Wang Yin’s father was a painter deeply influenced by the Soviet style, and Wang adopts this visual language to respond to the historical traces embedded in his own painting practice. Yet he does not follow the narrative logic of realism; instead, he situates himself in the “borderland” of pictorial cognition. In his hands, a once-familiar style becomes estranged, producing a subtle distance within our perceptual system. Rather than explaining or analyzing these influences, he absorbs and rearticulates them through the act of painting.
This becomes another form of reflecting on history—and another kind of “borderland dance.” Across different periods, people contemplate their own contemporaneity. Wang consciously takes on the historical destiny that painting must face, while attempting to make visible the inner genealogy of images. Within the layered transformations of modern and contemporary Chinese painting, the nationalization of oil painting, and the legacy of the Soviet style—he continues to excavate, imagine, and reconstruct, asking anew how we look at others and at history through the medium of painting. “Borderland” here refers not only to geographic margins in the modern political space; it is also the place that consciousness does not yet perceive—perhaps, a place hidden within the everyday.
Green Peony
In Green Peony (2024-2025), generational relationships no longer point to specific groups, identities, or actions. Instead, they unfold as a feeling of being with the figures in the painting—an immersion in time itself. In these moments, painting seems to shed the weight of history, adopting a lighter posture that hints at a mutually supporting pictorial structure, while the layers of history recede into the depths of the composition.
In the reciprocal gaze with these paintings, the body becomes a landscape, gathering the traces of what makes a person who they are. Freed from the immediate frame of history, the human figure appears calmer, retaining the marks that time has inscribed, and restoring an experiential sense of human form—as if suggesting that one must once again confront the totality of oneself.
Through deep introspection and repeated retrieval of memory, Wang distills a sensibility akin to Su Shi’s Calming the Wind: “Looking back at the bleak place I came from—returning, I find there was neither wind nor rain, nor clear skies.” This understanding yields a quiet tension that links the time of the past with that of the future. In this mutual gaze, we too may sense the fragrance that rises from the depths of time, along with an anticipation of the unknown.
About the Artist
Wang Yin was born in 1964 in Jinan, Shandong Province, and graduated from the Central Academy of Drama in Beijing, where he currently lives and works.
Trained initially in stage design, Wang integrates emotional experience and intellectual inquiry into the language of contemporary oil painting, transforming historical forms into personal reflections on time and existence. For Wang Yin, painting is both a temporal and existential act—a way of capturing those emotional experiences in life that often remain beneath the threshold of our consciousness.
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All art works by Wang Yin © the Artist
Courtesy of the artist and Vitamin Creative Space.
Vitamin Creative Space
Wang Yin: Red Peony, Green Peony
Dates
7 December 2025 – 8 March 2026
Venue
Mirrored Gardens, Space 1
Address
Hualong Agriculture Grand View Garden, Panyu, Guangzhou
Daily Opening Hours
Wednesday to Sunday, 1 to 5pm (closed on Monday and Tuesday)
Hours may vary on holidays or in special circumstances. Please check our website or WeChat Public Account for the latest updates.
Please make an appointment to visit the exhibition via the official website of Mirrored Gardens.