艺术家张树林，师承大师吴冠中，继承了新水墨画派的精神，在自然中获取灵感，在抽象中寻找具象，从西画中借鉴探索，在继承中融入创新，并未着力于展现具体的物象，而是利用水墨和色彩，传达一种对事物最本真的感受，唤起人们对原始形态的美好想象，营造出似是而非的梦幻效果。 张树林 Zhang Shulin，路途 The Road, 2013纸本 Ink and color on paper, 半径 R 32cm 张树林擅长以微观视角细致描绘幻想中的山水、梦境中的植被以及游离其中的微小生命。潜心研究水墨与宣纸的相互作用，张树林得以把握精微的水墨肌理，进而创造出既写意又逼真的水中世界：无论礁石的边沿、植物的茎叶、或不知来处、无谓方向的气泡或波纹，都在看不到的 “水” 的氛围下悄然呈现纸面。在这些幽暗微观的大千水世界里，流动的生命滋长变迁，时而低语呢喃、时而顾自漂浮。观众因而可以找到静谧之感、幽默之感、或对生命意味深长的感慨。
张树林 Zhang Shulin，佛缘 The Buddha Karma, 2011
设色纸本 Ink and color on paper，97x89 cm
Whispering Ink by Zhang ShulinOpening | 2020/11/21，15:00Dates | 2020/11/21 - 2021/2/28ADD | GREAT ART SPACE NO.2No.1003 Shennan Avenue, Futian, Shenzhen GREAT ART SPACE is pleased to present the solo exhibition Whispering Ink by Zhang Shulin at Great Art Space No.2, the exhibition will showcase a series of Zhang's creative artworks in the field of new ink painting.
张树林 Zhang Shulin，燕飞回 Swallows Fly back, 2005
设色纸本 Ink and color on paper，97x90 cm
The concept of "new ink painting" was born in the early 1980s and gained confidence in artistic practice and theoretical exploration along with the "85 Thoughts". Its core is to further explore the expressive force of the painting language , eliminate the traditional narrative and ideographic functions, and develop a new realm of art which is different from traditional ink painting. The new ink painting is characterized by compound brushwork technique and the precise control of tone. Zhang Shulin was taught by master Wu Guanzhong, he inherited the new ink painting spirit. He gets inspiration in nature, looks for representation in the abstract, draws and practises from the exploration of western paintings and integrates innovation into the inheritance. In addition, he doesn’t draw figures of the specific object, but uses ink and color to convey a sense of the most essential things, to evoke great imagination of the original form and then build a specious dream effect. 张树林 Zhang Shulin，沙漠生命 Life in The Desert, 2013纸本设色 Ink and color on paper, 90x97 cm Zhang Shulin is good at depicting fantasy landscapes, vegetation and tiny lives floating in dreams from a microcosmic perspective. By intensively studying the interaction between ink and rice paper, Zhang grasps the subtle ink texture, and creates a freehand and realistic water world: no matter the edge of the reef, the stems and leaves of plants, the bubbles and ripples in unknown directions...etc, all appear quietly on paper in the invisible "water" atmosphere. In Zhang’s dim and microscopic water world, the flowing life grows and changes, sometimes whispering, sometimes floating. Audience can, therefore, feel senses of tranquility and humor, or a profound feeling for life.
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