此在(txt+pdf+epub+mobi电子书下载)

作者：陈淑霞

出版社：河北美术出版社

格式: AZW3, DOCX, EPUB, MOBI, PDF, TXT

此在试读：

“此在”──陈淑霞

香港大学美术博物馆很荣幸可以展出陈淑霞独特的油画作品精选。

作为一个已问道参展逾三十载的艺术家，陈淑霞以其对生活的细致观察及体会，创作了许多颇具其主题风格的肖像及静物作品，延续了西方影响下悠久而传统的油画技巧，　并做出了其卓越的贡献。“此在”可以理解为一种状态，暗示着“已达到”这一姿态，但对于陈淑霞作品的画面来说，更意味着一个短暂的情景，正如静物“在那里”但鲜果却已过期许久。在这个多重含义的题目下，陈淑霞的作品描绘了一个时刻——当静物或肖像“在那里或曾经在那里”时其当下的物态及性态。也因为如此，此次展览的作品及其对应的出版物承载着记录性的价值。在艺术家本人最真实的自我思考中，同样的情感也得以浸润。“此在”象征了她自我的所在，也更加明确了她在自己所创作的空间中更真实的自我意识。

抽象的现实与一种诗意的平静结合，使得她的作品更具人情味，既温暖、又柔软，同时又是不可否认的个人情感。陈淑霞对于民间艺术的兴趣和对扎实绘画技巧的掌控，让她得以创造出一种与绘画主题之间亲密可见的关系，同时拉近了人、物与观者之间的距离。我们很感激此次展览得以欣赏并与大众分享这些有趣的作品，同时也衷心地感谢陈淑霞与我们的密切合作，使本次展览成果丰硕。写在“此在——陈淑霞作品展”之前2015年3月

Being-there——Chen Shuxia

The University Museum and Art Gallery is honored to display this fne selection of unusual ink paintings by Chen Shuxia.

As An exhibiting artist for 30 years, Chen has created artworks by contributing to the tradition genre of oil paintings and its long-practised and Western-influenced techniques by presenting portraits and still-lives, subjects and styles informed by her observations of life.

"Being-there"describes a state as it suggests the motion of"having arrived", as well as—maybe more to the pictorial contents of Chen Shuxia’s artworks—of a momentary circumstance, like a still-life that"is there"while the fresh fruit depicted long expired．Grouped under this multifaceted title, the artworks included in this exhibition and its accompanying publication gain documentary value in that they describe a moment—the current properties and conditions of Chen’s sitters while they"are or were there"．The same emotion is then much embraced by the artist herself and, in true self-reflection, exemplary of her own place and the assurance of feeling more real in her created space.

This abstract reality is coupled with a poetic tranquillity that makes the artist’s painting humanistic, warm and soft, as well as undeniably personal．Chen’s interest in folk art and solid painterly techniques allow her to create a visibly intimate relationship to her subjects, and bring—both human and object—closer to her viewers．We are grateful for this opportunity to view and to share this interesting body of works with the public, and thank Chen Shuxia for our fruitful collaboration.Written Before"Being-there:Works by Chen Shuxia"March，2015傲骨　48cm×48cm　布面油画　2015Unyielding Bones 48cm×48cm Oil on Canvas 2015

彼在为此在

2000年前后的陈淑霞，是她个人风格发生变化的关键时期。因为90年代的陈淑霞，更多的是从形式语言的角度去看待自己的创作，往往借助于西方的风格和图式，强调的是个人风格的演进和变异。而2000年左右的画家，不但对自我的创作充满肯定，也对自己的生活充满自信。陈淑霞反复强调，“是生活的感受迫使这种转变的发生”，但无论如何有一点是可以肯定的，这种转变是发自内心的，是和画家此刻的生活体验一致的。作为一位不知疲倦的创作者，陈淑霞总是以自己的创作作为自我生命的履历。2000年左右的画作，一部分更着眼于生活化的叙述，体现了陈淑霞对现实的关切，但是画面中的单个形象开始被那些“快活着”的人物群像所替代。而随着画题的变化，色彩仿佛被画面的喜悦所传染，忽然之间鲜亮起来了。笔触的使用与色彩的跳跃也成了画面中引人入胜的“二重奏”，协调得如此相得益彰。另一部分作品，是以“虚实两境”命名的系列，是在90年代“花”的系列基础上逐渐拓展出来的创作线索，但主体形象已经从“花”转换成了“水果”“杯子”，以更朴素简洁的方式去追索对画面纯粹结构的兴趣。这一时期的画面具有了某种明确的“抽离感”，画家对客观物象的刻画不再是对生活的现实叙事，也不再是艺术家主观情感的激情投射，而是针对“虚实两境”而刻意强调的“之间”状态。“之间”，区别于“物”和“我”。指的是一种自由的游移、一种莫名的情境、一种诗意的存在，这让人联想到中国唐宋时期的“禅画”。的确，陈淑霞作品中那些平行摆放的水果、杯子，与画僧法常的《墨柿图》有着近似的面貌，但在内质上他们也更为接近，都是力图脱离对外形的把握以追求本质性的感悟。以此而论，“虚实两境”所代表的“回溯”姿态并不是仅仅回到“传统”，而是陈淑霞逐渐放弃西方式的形色结构，转而从中国文化传统中汲取精神养分的尝试。

2002年陈淑霞推出了“山水间”作品系列。如果说“虚实两境”是对中国传统文化精神的某种“回溯”的话，那么“山水间”所代表的创作则将这样的“回溯”变得越发明确。在《映日》《爱妻号》《风峰》《石雨》《天雨》《明湖》《泛舟》《天水》等作品中，陈淑霞毫不顾忌地对中国传统山水画进行大量的借用。譬如，一些作品的构图就是倪瓒笔下的“一江两岸”式，“泛舟”的场景让人联想到了元代的吴镇，坡岸树石的描写类似于董源，而“平远”“深远”的法则也被屡屡借鉴。陈淑霞难道仅仅是在拷贝中国艺术的经典？抑或是说仅仅满足于用油彩来画中国画？答案当然不是。事实是中国艺术发展到了当下，“回归传统”既意味着不同的深意内涵，也意味着并非单纯而自由的行动，这让人联想到了T.S.艾略特关于诗学中历史意识与现实意识联系的相关描述──“传统，是具有广泛意义之物，它包含历史的意识，历史的意识又含有一种领悟，不但要熟知过去的过去性，而且还要理解过去的现存性。也就是这一意识，使一个作家最敏锐地意识到自己在时间中的地位，自己和当代的关系”。于是，当画家有意识地做出抉择的时候，她的艺术就成了各种关于历史且涉及当下的思想之“比喻性”观念──不仅标示出彼此的形貌差异，更代表了彼此的文化差异，远远超出了绘画原有的含义。所以，陈淑霞针对中国传统文化精神的“回溯”是中国油画当代转型的案例之一，它不是针对西方的“文化策略”，也不是抢救、维护和转化“传统文化”的宗旨目的，而是出于自我完善的主动选择以及在不断探索、落实之后的陶醉欣喜。

从90年代的“原色”出发，到“虚实两境”，再到“山水间”，陈淑霞完成了从将自我精神不断地投射而“物化”，到对“物”与“我”之间的游移不定，再至“山水间”中刻意的“物”“我”不辨。孰物孰我，即是物我同化，也就是天人合一，这是中国艺术创作的至高境界，也是所有艺术家梦寐以求的至高理想。陈淑霞，从来就不是一个好高骛远者，她只相信脚踏实地、一步一个脚印地接近所谓的终极目标，于是2010年以后画家的创作进入了一个全新的阶段。陈淑霞以“此在”作为作品系列的命名，强调的是这些创作反映的就是此刻的感受、体验、价值和意义。从表面上看，“此在”系列延续了“山水间”的方向，也带有些许“虚实两境”的遗痕，但是陈淑霞在“回溯”的力度上更加有力。画家对中国古代绘画形制的迷恋似乎达到了痴迷的程度——譬如大尺幅的横构图作品令人联想到古代绘画中的手卷横披，成对的竖构图作品很接近宋画中的双拼挂轴，还有可以折叠而立于一角的作品就是古代屏风的翻版，但是观众们千万不要被这些外在的形态所迷惑，因为陈淑霞在貌似亦步亦趋中所要呈现的不仅仅是对传统的某种刻意的还原，更重要的是基于这样的还原而针对传统的当代体验的过程本身。通过自己的创作，陈淑霞将从“做底”到“绘画”再到“陈设”的过程完整地展现出来，为此她大量保留了“做底”阶段的制作痕迹、大量保留了“绘画”过程中的流淌、覆盖、划痕等的细节，并将最终展示的方式也作为自己作品的一部分。事实是陈淑霞已经不太严格地把自己的创作等同于绘制作品，她要求将自身的体验作为作品的核心组成，由此观赏者看到的也不仅仅是作品本身，而是陈淑霞通过创作所展现出的针对文化传统的当代经验及其生命过程。她把自己埋在材料堆里，在挥汗如雨中享受着创作的过程。陈淑霞的创作大多有着预定的程序和目标，但是她也时刻准备着“改弦易张”，在“迁想妙得”和“灵光乍现”之中产生偶发的或者不确定的效果。陈淑霞享受着这样的过程，在她看来传统从来就不是僵固不化的东西，当代也从来不是悖逆不道的事物，而只有在自我的生命体验过程中两者的意义才能被充分地确知。陈淑霞也将自己的生命体验过程与自我的创作过程混为一谈，创作就是人生，人生就是不停地创作。唯有如此，画者才能用自己的手去摩挲历史、用自己的心灵去熔铸当代；而唯有如此，观赏者才能走近画者的创作，阅读到画者的心灵，并能跟随画者的脉搏一起跳动。视窗　28cm×33cm　布面油画　2014Window 28cm×33cm Oil on Canvas 2014

Being-there, from Here

The 2000s were a critical period for the evolution of Chen Shuxia’s personal style．In the 90s, Chen Shuxia preferred to approach her work from the angle of formal language, often employing Western styles and imagery to emphasize transformations and changes in her personal style．Painters before and after the year 2000 not only had a sense of affrmation regarding their own work, but also had a sense of confidence in regards to their lives．Chen Shuxia has repeatedly emphasized:“It was life that forced the occurrence of such a change.”However, we can be sure of one fact:such a change came from the heart, in accordance with the painter’s experience of life in that moment．As a tireless creator, Chen Shuxia has always viewed her work as a record of her own life．Her paintings from the 2000s were focused in part on the narration of daily life, manifesting Chen Shuxia’s regard for reality．However, the individual forms in her paintings started to be replaced by“dynamic”figures．Following the changes in subject matter, the use of color seemed to be infected by the joyousness of the image, suddenly becoming brighter．A triumphant“double impact”of brushstrokes coupled with the dynamism of color resounded within these works, working in concert to ideal effect．In another set of works, a series entitled Double Landscape of Emptiness and Fullness gradually expanded upon the foundations of the creative line established by the Flower series in the 90s, however the form of the subject had already transformed from“fowers”into“fruit”and“cups”, using a simpler and purer way to explore interest in the joy of painting’s pure structure．The work of this period possessed some sort of clear“sense of separation”, with the painter no longer engaging into a realistic narration of life through the representation of objective phenomena, abandoning the artist’s passionate projections upon subjective emotion, and instead seeking a“double landscape of emptiness and fullness”, intentionally seeking an“in between”state.“In between”differs from“objects”and“the self”．It refers instead to a sort of free movement, atype of ineffable emotion, a sort of poetic existence, causing one to think of Zen paintings from the Chinese Tang and Song Dynasties．Truly, the rows of fruit and cups in Chen Shuxia’s work visually evoke Ink Persimmons by painter-monk Fa Chang．However, it is in their internal intentions that their work is most similar, attempting to break away from the mastery of external form in order to pursue an essential insight．We can thus see that the return to the source evoked by Double Landscape of Emptiness and Fullness is not only that of a return to“tradition”, but rather Chen Shuxia’s gradual abandonment of Western forms of shape and color in an attempt to gain nourishment from the spirit of the Chinese cultural tradition.

In 2002 Chen Shuxia presented her Within a Landscape series．If it can be said that Double Landscape of Emptiness and Fullness marked a return to the source of the spirit of the Chinese cultural tradition, then Within a Landscape series marked a greater pursuit of such a return．In works such as Refecting the Sun, Loving Wife, Mountain of Wind, Rain and Rocks, Rain and Sky, Bright Lake, Boat, and Sky and Water, Chen Shuxia unabashedly borrowed from the tradition of Chinese landscape painting．For example, the composition of several paintings was in the style of Ni Zan’s“two riverbanks”, and the image of Boat made one think of Yuan Dynasty painter Wu Zhen, with representations of shores, rocks, and trees resembling the work of Dong Yuan．The principles of“fat distance”and“deep distance”were also repeatedly employed．Could it be that Chen Shuxia is merely copying the classics of Chinese art? Or could it be that she is simply content with using oil painting to do Chinese painting? The answer is of course no．In fact, as Chinese art has developed up until the present, the“return to tradition”not only implies a deeper significance, but is also not only a simple and free movement, making one think of T.S．Eliot’s related description of the relationship between historical consciousness and reality consciousness:“Tradition is something of a wide meaning, encompassing a historical consciousness while historical consciousness also includes a sort of realization that one not only must understand the temporality of the past, but also understand the permanenceof the past．It is within such an understanding that a writer must realize his position within time, as well as his relationship with the current times.”Thus, when the painter must make conscious decisions, her art thus embodies various“metaphorical”concepts regarding history and though of the past—not only reflecting differences in physicality, but also representing greater cultural differences, greatly surpassing the original implications of painting．Thus, Chen Shuxia’s“return to the source”of the spirit of the Chinese cultural tradition is but an example amongst the transformations today in contemporary China, being neither a“cultural strategy”directed to the West, nor emanating from an imperative to save, protect or transform“traditional culture”, but rather coming from a personal choice to cultivate oneself and a place of effervescent joy during such a process of continued exploration bearing fruitful results.

From the Primary Colors of the 90s, to the Double Landscape of Emptiness and Fullness, and then to Within a Landscape, Chen Shuxia has completed a process departing from taking personal emotions and projecting them through“objectification”, to a transience between the“self”and the“object”, continuing further into a deliberate sublimation of the“self”and the“object”within landscape．The question of what is the self and what is the object melds together within one, reflecting the Chinese axiom of heaven and earth being united in one, the highest possible state of Chinese art, and also the greatest ideal of all artists．Chen Shuxia has never been one to have over-inflated ambitions, preferring to continue working step by step, getting closer and closer to her desired goal．Thus, her work after 2010 entered an all-new terrain．With this series of work entitled Being-there, the feeling, experience, value and significance of the present moment is refected．On the surface, the Being-there series is a continuation of the themes established in Within a Landscape, while also simultaneously possessing traces of the Double Landscape of Emptiness and Fullness．However, Chen Shuxia’s“return to the source”has gained a greater strength．The painter has gained an even more fanatical appreciation of ancient Chinese painting—for example, the large horizontal works recall the scrolls of ancient works, while the hanging couplet paintings evoke the twin hanging scrolls of the Song Dynasty and the foldable works posed in a corner are interpretations of screens in the ancient style．However, the viewer should absolutely not be confused by the external form of the work, for within Chen Shuxia’s increasingly acute tendency towards traditional Chinese culture is not merely a return to said tradition, but rather what is more important is that the process itself based upon the contemporary experience of such a return to tradition．Through her work, Chen Shuxia has completely rendered the process of“establishing a basis”for“painting”culminating in“display”, preserving the productive traces of the“establishment of a basis”as well as the details of dripping, covering, and retracing, culminating as a part of the fnal presentation of her work．In fact Chen Shuxia does not strictly view her work as the creation of a painting, requiring instead that her personal experience remains the central element of her work, allowing the viewer to not only view her work itself, but also the vital process of Chen Shuxia’s contemporary experience of traditional culture through painting．She has buried herself within a pile of materials, enjoying the arduous process of creation．Although the majority of Chen Shuxia’s work implies a set process and objective, she is ready at any moment to“change her tune”, attaining spontaneous or ambiguous results through fashes of the soul inherent in such transcendental flexibility．Chen Shuxia enjoys such a process, and in her eyes, tradition is not an immutable notion, and contemporaneity is never a contradiction, manifesting that the two forces can only achieve complete realization through the process of a personal, vital experience．Chen Shuxia has melded the process of her life experience and the process of creation into one:creation is life, and life is an act of ceaseless creation．It is only thus that the painter can use his or her hands to capture history, that he or she can use the soul to weld contemporaneity;it is only thus that the viewer can approach the painter's work, perceiving the soul of the painter, following the pulse of the painter within a symphony of movement.片　28cm×33cm　布面油画　2014Sheet 28cm×33cm Oil on Canvas 2014

画布上创造的真实──“此在”陈淑霞

陈淑霞在求学时已获学院艺术奖项，毕业后一直从事油画艺术创作。刚出道时已备受关注，并多次参与国内外的重要画展，获得不少艺术奖项，包括作品《粉红色的花》于1991年在第一届中国油画年展上获得了银奖。

陈淑霞的作品，没有大千世界中常见的执着，没有刻意触碰历史和文化的议题，纯粹表达个人的内心世界。她对周遭环境观察细微，在她的笔下，看似平淡的表象却潜藏了复杂及丰富的情感。

她的早期创作，以个人日常生活的经验和记忆为基础。她把生活点滴透过其独特的视野，重新演绎记录在画面上。她的作品没有激烈的喧哗，总能让人有种放松、悠闲及淡然的感觉，是繁忙都市中的青草地。在她的世界里并没有现实社会的阴暗，没有不同阶层的矛盾、人与人之间的疏离，也没有夫妻间的摩擦、环境污染等。只有青春的面孔、广阔的天空、鲜艳的色彩和美好的事物，仿如并不存在的乌托邦。“此在”系列是她最新的作品，较她早期的作品更简洁，意境更高远，不拘泥细节质感和轮廓的描绘，只在乎一刻的永恒。那些似曾被烧过，层次突出、富有质感的轮廓的画边，正好补充平衡了烟雨蒙蒙，如梦幻般不真实的画面。

画布上创造的虚实对比，骤眼看如已发黄褪色的旧照片，一幅幅呈现于观众眼前。这其实是陈淑霞精心设计的迷幻现实场景，令她有“此在”的感觉。正如法国大文豪艾伯特·哈伯德所言：“上帝凭直觉去创造，人则通过观察而来的灵感创作。”画布是画家的舞台，画家在其舞台上创造自己的世界。陈淑霞的世界，正是通过观察身边看似不重要的事物而来的灵感而形成，也是她理想的真实。

以下是陈淑霞几个主要画风转变的关键时刻、创作历程和作品分析。风格探索期

20世纪90年代，刚在艺坛崭露头角的陈淑霞创作了一系列以花为主题的油画作品，例如现藏于香港大学美术博物馆的《粉红色的花》，就在第一届“中国油画年展”上获得银奖。作品描绘了寂静中的花，借物抒情，是艺术家早期关于自身和艺术的思考。

在花以外，她的人物画以描述个人经验和家庭为主，如《白色依恋》《和睦》和《流失的记忆》等，作品中的人物和场境，主要描绘婚后生活片断，安静和睦。在当年的作品中无可避免的可以感觉到欧洲艺术大师对她的影响。苹果的启示

自1999年起，陈淑霞的作品主题起了变化。随着时光的流逝，她对生命有着不一样的体悟。她不再借花为情爱、工作来顾影自怜，并将自己从画面中抽离，刻意隐藏起来。她将眼光由人物转移至一些生活中看似平淡琐碎事物上，例如桌上的水果、器皿、餐具等日常生活中随处可见的平凡事物。正如她在1996年出版的《知面》一文中说到的艺术与生活的话题。若细读她的作品，虽然会感叹其充满生活气息，但却没有人间烟火的痕迹。

这一时期她的作品多次出现不同数量的水果，尤其是苹果。题材虽然重复但并不沉闷。那种温和的颜色引人联想其滋味，甚至于不同的摆放位置所产生的效果，既活泼又有趣、栩栩如生，怪不得曾有人说：“假如您一辈子能够画好一颗苹果，您就是一个了不起的艺术家。”粉红色的花　140cm×120cm　布面油画　1991Pink Flower 140cm×120cm Oil on Canvas 1991海阔天空

从2005年开始，陈淑霞跳出自己居住的斗室，从室内走到室外。她的作品突然海阔天空，眼光放到自然环境中，同样没有大时代的历史背景。从摸不着的内心世界，走进到肉眼看得见的花花世界。除了画中的船和人以外，大片的天空、海洋或湖泊、焰山以及下雨等自然现象也不断地出现在她的作品中。风格和题材明显在改变，摆脱以往的内向和安静，在画面中能让人感受到人声和大自然的声音。

她把不同空间的景物调度在一起，画面变得多姿多彩，但她的触觉依然敏锐，从未因花花世界的色彩而麻木，情感仍丰富细腻。她摒弃了欧洲大师的风格，以别出心裁的巧妙构图，建立画布上童真世界的同时，也确立了自己的绘画风格。她巧妙地利用黑色分隔不同的空间，加强对比和装饰性的美感，且通过简单的图形增加画面变化，再善用粗细和虚实的变化，表现有节奏的线条，使画面生动之余，也恰当表达了作品的意境。

她的另一独特之处，是其看起来未完成和未经修饰的笔触，快速而粗糙，多余稀释的颜料随地心吸力而流动，滑向画的下方，产生一般人会视之为有缺憾的笔触。她不拘小节，依然故我，继续游走在画布上的舞台。她的风景画没有纪念碑式的宏伟构图，也没有写实主义的艺术手法，她强烈的洞察力和创造的空间感，令人难以忘怀。我就是我：女子的闺房管窥

从1999年初的第一幅自画像开始，陈淑霞将自己作为绘画表现的题材，探索和尝试类似于自画像的作品。在这一系列的作品中，有半身、全身，有表情、无表情，有穿衣、有半裸甚至全裸的画面，林林总总。有表现其内心追求自由解放的情绪，也有纯粹表达当下的感觉。手稿　30cm×35cm　纸上作品　2001Maunscript 30cm×35cm Draft on Paper 2001

2008和2009年，在数量上是她创作的顶峰，同时亦让她找到表达自己的方法和形式，画中人可以说是理想中的自己，又或是她所指认的《青春记忆》中的自己。

已过了不惑之年的她，心理年龄却似青春少女，透过绘画与观众联系，心神互访，坦诚相对。她的用色由清淡到鲜艳均有，在用笔和构图上均以简约为主，没有刻意的强烈明暗对比，追求柔美的、淡雅的、细腻的、富有抒情色彩的灰色调和半透明感的色彩，仿如水彩画般强调透明感和颜料的流动性，不拘泥于实线勾勒的轮廓和面部细节，可谓取意不取形。

由1999年自画像中完全没有五官毛发的形象，至2009年轻描淡写的五官和时尚发型，甚至着衣自画像。由故意隐藏个人情感，至将情感溢于言表。她自画像中由全无背景，逐渐增加简单的家居摆设，是“入世”的一大进步。画面中人物活动多是闲坐、沐浴后的休息、梳妆和半裸做瑜伽等，均是极为私人的活动。无形中，她把观众置于窥视者的位置。她仿如真人秀中的女主角，让观众窥看她的私生活，叙述不为人知的闺房生活，大胆敞开生活的真实底蕴。除了描绘五官衣着、脸容和身体语言，她再进一步揭开一个隔绝的私人世界，并置之于观众眼前。

在此，我们不难感觉到她艺术中的鲜明强烈个性和自我特色。画中的红、蓝、绿、橙

2008至2009年，是陈淑霞最热衷绘画自画像的时期。她除了对自己感兴趣外，同时注重生活的小节，日常趣味的发现及启示，从来都是陈淑霞作品的基调，她的水果都是自传性或记事性的。缘物寄情，总有种宋明文人画的况味，如同清代八大山人以怒目的小鸟自比。

陈淑霞对色彩有着一种特殊的悟性，驾驭色彩的能力超强。此时期的创作多喜欢用红、蓝、绿及橙的鲜艳色彩作画，不怕撞色，却能使之和谐统一。她有意识地利用色彩和加工的画边，把自己的情感提炼出有层次的边界，形成天然画框去感染观众，使得自己与观众顿时变得休戚相关。如梦似幻的真实与独树一帜的中西融合

中国画始终具有永恒的魅力，近两年陈淑霞着力于对中国画的思索和探讨，她的创作也是其对中国画构图、价值、观念的反思。例如怎样吸收中国画的养分、摒弃哪些传统、探索哪方面的可能性、如何在其他媒材上表现传统文化的气息、如何创新、超越所谓的“传统”或突破“当代”的教条和局限等。“此在”系列作品的诗意和梦幻感，表现在画面气氛营造和画意中，隐含了传统中国画的意象精神。这种自然而然产生的手法和审美上的选择，包含了她自身对传统文化的承传，而并非形式上的重复，是艺术家通过个人性格、背景、气质和创造力，呈现出来的独特面貌和内涵。无论是纸本还是布面油画，其内在精神上都是中西融合、兼收并蓄的。

这一系列的作品，仍旧绘画寻常平凡的事物，不同的是画意的追求。她的绘画以淡化轮廓、线条和对比为主，甚至放弃色彩，回归单色调，营造烟雾弥漫和淡薄的意境，犹如梦似幻的世界，让人置身于虚与实之间。她这一系列的山水油画，例如《山者》具有南宗山水画的精神意境，平淡天真；《幽兰》《香枝》等，则展现出中国书法的线条和工笔花鸟画的风格；构图和留白处，如《文山之二》的一河两岸典型明清中国山水画的构图，充分体现了中国画重视留白和虚实相生的观念，是独树一帜的中西融合风格绘画。

承接以往对媒材的探索，她在“此在”系列中仍保留同色调的质感边沿，这是她刻意营造的天然画框，也是她提醒观众这是她画布上创作的虚拟世界，也可视为是记录她创造的“真实世界”，她引导观众由边外走入其世界中。她把“此在”视作背离现实，让自己处于身虽在而心已远的状态，是她在画布上的缩影。

陈淑霞油画技巧深厚，对中国传统水墨画又有着精妙体会，她近期油画作品的成功之处，在于她对中西文化的感悟。她从早期较饱满、浓郁的用色，到近期“此在”系列中对清爽疏朗的色彩追求，努力利用媒材的特性，对意境的驾驭更为自由纯熟，并借助传统水墨画的“精神和笔墨”，让观众留下静默的印象和感受。

居于城市的她，不受繁盛的喧闹影响，其画总予人那夜阑人静的沉寂，以寓情于艺术。她的作品每隔数年便会以新的面貌呈现给大家，是一位少有的不断探索、尝试、蜕变及奋进以冲破固有框架的艺术家。Creating Her Own Truth on CanvasBy Sarah Ng——"Being-there"with Chen ShuxiaAssociate CuratorUniversity Museum&Art Gallery University of Hong Kong

While still in college, Chen Shuxia began receiving awards for her oil paintings, a medium that she focused on exclusively for a period of thirty years．Early in her art career she participated in major international and domestic painting exhibitions, including prize-winning works such as Pink Flower, which was awarded a silver prize at the 1st Chinese Oil Painters’ Annual Exhibition in 1991.

As an artist Chen Shuxia does not focus on more commonly explored subjects such as history and culture．Her paintings are strictly personal expressions of emotion．She perceives the minute details of her surroundings and paints subjects that, at frst glance, might appear ordinary;but upon careful inspection they reveal hidden complexities and emotional depth.

In Chen Shuxia’s early paintings, her inspiration from her daily experiences and memories．She then reinterpreted these snap shots and recorded each in her own unique artistic style．These early works do not call out for attention．They are peaceful and unconcerned with worldly displays——they represent an oasis of calm in a bustling urban jungle．In Chen Shuxia’s world, the dark corners of society do not exist．There is no class confict, alienation, marital issues or environmental pollution．There are only youthful faces, boundless skies, bright colors and wonderful things——a veritable Shangri-La.

Her latest series, Being-there, is more concise in terms of style when compared with her earlier output．The paintings do not rigidly adhere to details or precise outlines—their sole focus is to capture a single moment．In this series of paintings, her dream-like subjects are enhanced and balanced by the burnt, textured and layered contours that delineate the edges of her paintings.

The use of this device creates a contrast between the real and unreal, when viewed at a glance, her paintings resemble a faded antiquephotograph．In fact, this is a deliberate effect employed by the artist to create a sense of her subjects"Being-there"within her paintings．In the words of the French writer Elbert Hubbard,"God creates by intuition．Man creates by inspiration, strengthened by observation."For Chen Shuxia, the canvas is a stage upon which she brings to life a world of her own．Chen Shuxia’s world is inspired by observations of seemingly unimportant daily objects, but this is also a true representation of her ideal reality.

The following sections explore several key periods in Chen Shuxia’s career that mark changes in her style and creative process, as well as offer an analysis of her paintings.Exploratory Period

Chen Shuxia emerged on the art scene in the 1990s with a series of fower-themed paintings．Her work from this period includes Pink Flower (now part of the UMAG collection), which was awarded the 1st Chinese Oil Painters’ Annual Exhibition silver prize．The work

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