自然的回声

The acrylic and ink based works of Feng Kai Lan may indicate an inclination towards the deconstruction of calligraphic aesthetics and practice, while the strong graphic quality insists that one speculates further upon a contemporaneous trajectory of the artist. Varying from organic fluidity to geometric morph, the renderings suggest an engagement in the paradoxical pursuit of an artery which dissevers contemporary and traditional leitmotif. 

The primacy of singular fields of colour, acting to suspend the visual fore of dense linear intricacy, empower her compositions and allow an evolution of intense explorations within the potential of a successful fusion of abstract colourism and quasi-graphism, while yet visually enhanced in spatial context.

The question as to whether the works qualify as either calligraphic expressionism or act as predominant abstract colourist experimentation is negated by the demarcation of a pronounced individual discourse. The distinct quality adheres to neither art historical determinant nor predisposition of art historico imperative. The greater aesthetic transmutation of colour and line are latent within the asymmetrical impact of her work. Hence, rather than an optical technique possessed by either predetermined “aesthetic” (as might belong to the academic elite vocabulary) as to what constitutes the contemporaneous in art, herein the artist divulges a non-dualism in leitmotif which transcends the intellect and returns to an effluvium akin to nature.

R. A. Suri

Xian, PRC

2016/11/23

冯开兰的丙烯与水墨作品透露出针对书法美学与创作的解构意向，然而这些作品鲜明的图像个性又催使观者就艺术家的现实发展轨迹展开深思。从自然畅快的流动呈现到几何图形式的变奏拼贴，这些不同的手法显示出与某种悖论式追求的暗相契符，而其追求的道路正切断了当代兼或传统的主流风格。

以鲜亮的色谱浓施重抹，意在悬置前景中由稠密而复杂的线条带来的视觉观感，使构图更为有力，并且为观者发起一种逐步而细密的探索提供条件,这种探索针对的是抽象色彩主义与准图形主义成功嫁接的潜在可能，此外这也增强了空间语境上的视觉效果。

至于这些作品究竟是书法表现主义还是主流抽象色彩主义实验这一提问方式,则被明显的个人话语标志否定了。这一鲜明品格既不皈依艺术史叙事的决定性因素，也不具有艺术史观念的倾向。色彩与线条的更为剧烈的美学突变蛰伏在她作品的不对称力量中。因此，这里存在的不仅仅是先定“美学”所涵盖的视觉技巧（这也许属于学院派精英的语汇）,这一美学形成了艺术的当代景观，此处艺术家在主题中透露的是一种去-二元论，继而回归到与自然状态相似的大音无声。

R. A. Suri

Xian, PRC

2016/11/23