藍調系列NO99 60X80cm 油畫 葉向明 2010
藍調系列NO91 60X75cm 油畫 葉向明 2010
藍調系列NO91 60X75cm 油畫 葉向明 2010
藍調系列No.15-Blue Tone Series No.15-122×92cm-2004-布面油畫
藍調系列NO77 60X70cm 油畫 葉向明 2009
藍調系列NO98 91X122cm 油畫 葉向明 2010
藍調系列NO84 180X200cm 油畫 葉向明 2009
《吉祥中國之鳳凰》 50.5x61cm 油畫 葉向明 2013年
《悠悠歲月》106X78 獲“首屆廣東省水彩畫展”金獎
《吉祥》 油畫 170X150cm
葉向明先生近影
藝術家小傳——葉向明YE XIANGMING
1963年生于廣東省
1986年畢業于廣州美術學院
2006年廣州美術學院客座教授
2010年成立北京宋莊葉向明工作室
2012年中國藝術研究院中國油畫院訪問學者
現任嶺南畫院院長、嶺南美術館館長
主要個展：
2010年 “藍調系列”葉向明藝術展（北京宋莊萬盛園）
2011年 “夢之旅”葉向明油畫展（北京宋莊國防藝術區）
2012年 “記憶的投影”葉向明油畫作品展（古元美術館/北山會館）
2014年 “開放的毛孔”葉向明當代油畫作品展（關山月美術館）
主要群展：
1999年 “首屆廣東省水彩畫展”金獎（廣東美術館）
2003年 “第二屆廣東省油畫藝術大展”（廣州藝術博物院）
2006年 “中國當代水彩畫展”（廣州美術學院美術館）
2008年 “當代油畫名家邀請展”（嶺南美術館、古元美術館）
2009年 “肖像/反肖像”六人聯展（廣州扉藝畫廊）
2010年 “傳承與超越”中國水彩、水粉畫展（嶺南美術館）；“硬質柔性”三人聯展（珠海北山會館）；“四人行”藝術展（澳門陸軍俱樂部）
2011年 “聲西擊東”二人聯展（珠海北山會館）；“雋文不朽”藝術展覽（澳門）
2012年 “尋源問道”研究課程作品展（北京中國油畫院美術館）
2013年 “異彩紛呈”作品展（西安美術學院美術館）；“尋城記”珠澳當代藝術展（澳門牛房倉庫） ；“回望涅瓦河”中國油畫家13人作品展（關山月美術館）；廣州美術學院水彩60年研究展（莞城美術館）；廣州美術學院60年作品展（廣州美術學院大學城美術館）；“獨立的當代精神”四人聯展（廣東畫院美術館）；“向王肇民致敬”作品展（廣州菲藝廊）；“第六屆廣東省水彩畫展”銅獎（江門美術館）
2014年 “當代中國寫意油畫展”（澳門文化中心）；“寫意江山---中國寫意油畫名家作品展”（嶺南美術館）
出 版：
2008年 《藍調系列--葉向明油畫作品集》（嶺南美術出版社）；《女子·音樂系列 葉向明油畫作品集》（嶺南美術出版社）；《走向心象--龍虎 葉向明水彩集》（廣西美術出版社）
2012年 《記憶的投影--葉向明油畫作品集》（中國文藝出版社）
Born in Guangdong Province in 1963
Graduated from Guangzhou Academy of Fine Arts in 1986
Guest Professor of Guangzhou Academy of Fine Arts in 2006
Established Beijing Songzhuang Ye Xiangming Studio in 2010
Visiting Scholar of Chinese Academy of Oil Painting of Chinese National Academy of Arts in 2012
At present, President of Lingnan Fine Arts Institute & Curator of Lingnan Art Gallery
Main Individual Exhibitions
In 2010, Blue Tone Series--Ye Xiangming Art Exhibition (Wanshengyuan, Songzhuang, Beijing)
In 2011, Dream Journey--Ye Xiangming Oil Painting Exhibition (National Defence Art District, Songzhuang, Beijing)
In 2012, Shadow of Memory--Ye Xiangming Oil Painting Exhibition (Guyuan Museum of Art / Beishan Guild Hall)
In 2014, Open Pores--Ye Xiangming’s Contemporary Oil Painting Exhibition (Guan Shanyue Art Museum)
Main Selected Group Exhibitions
In 1999, gold award of the First Watercolor Exhibition of Guangdong Province (Guangdong Museum of Art)
In 2003, the Second Oil Painting Exhibition of Guangdong Province (Guangzhou Museum of Art)
In 2006, China Contemporary Watercolor Exhibition (the Art Museum of Guangzhou Academy of Fine Arts)
In 2008, Contemporary Famous Oil Painter Guest Exhibition (Lingnan Art Gallery, Guyuan Museum of Art)
In 2009, Portrait & Anti-Portrait 6 Painters Exhibition (Guangzhou Feiyi Art Gallery)
In 2010, Inheritance & Surpassing China Watercolor & Gouache Exhibition (Lingnan Art Gallery)
Stiff Softness 3-Painter Group Exhibition (Beishan Guild Hall of Zhuhai)
4-People Art Exhibition (Military Club of Macau)
In 2011, Look One Way and Row Another 2-Painter Group Exhibition (Beishan Guild Hall of Zhuhai)
Immortal Words Art Exhibition (Macau)
In 2012, Source Searching Research Course Works Exhibition (the Art Gallery of Chhina Academy of Oil Painting in Beijing)
In 2013, Various--Artworks Exhibition (the Art Gallery of Xi An Academy of Fine Arts)
Biography of City Searching--Zhuhai & Macao Contemporary Art Exhibition (Ox Warehouse, Macau)
Look Back to River Nieva--Chinese 13-Oil Painter Works Exhibition (Guan Shan Yue Art Museum)
Research Exhibition on 60 Years of Watercolor of Guangzhou Academy of Fine Arts (Guancheng Art Museum)
Exhibition on 60 Years of Artworks of Guangzhou Academy of Fine Arts (the Art Gallery of Guangzhou Academy of Fine Arts)
Independent Contemporary Spirit 4-People Group Exhibition (the Art Galley of Guangdong Drawing Academy)
Salution to Wang Zhaomin Artworks Exhibition (Guangzhou Feiyi Art Gallery)
The copper award of the 6th Watercolor Exhibition of Guangdong Province (Jiangmen Art Museum)
In 2014, Contemporary China Freehand Oil Painting Exhibition (Cultural Center of Macau)
Chinese famous Artists Impressionist Oil Painting Exhibition (Lingnan Art Gallery)
Publication
In 2008, Blue Tone Series--Ye Xiangming’s Oil Painting Collection, Lingnan Fine Arts Press
Woman·Music Series--Ye Xiangming’s Oil Painting Collection, Lingnan Fine Arts Press
Walk into Heart, Dragon & Tiger--Ye Xiangming’s Watercolor Collection, Guangxi Fine Arts Press
In 2012, Shadow of Memory--Ye Xiangming’s Oil Painting Collection, China Literature & Art Publishing House
學者評價：
葉向明的繪畫，并非是一種單純的抽象主義藝術。以他的繪畫整體面貌而言，乃是寓形象與抽象概念之中。它有新表現主義的狂躁郁結，亦有一點超現實主義的夢魘意象。它以線條結構為經緯去營造畫面的肌理，以靛藍與玫瑰紅為基調襯托出畫面一種憂郁不安的氣氛。
葉向明的作品，有時又呈現了另一種較為安詳的面貌，那是以玫瑰紅和橙紅為主色調的，靛藍則是退居次要之地位，但線條仍以深色為之，不脫藍調本色。這一類的作品揭示了另一種意象，線條肌理較為勻稱，比較強調一種平面性的畫面效果。
如果說，葉向明的藝術僅是一種半抽象的作品，那我以為它更接近一種新意象（New lmage）的風格。它的創意背景是抽象的，它從一個虛構的空間去營造畫境。其夢魘般的紛亂影象，以粗而短促的曲線逐次鋪排，讓形象與肌理復疊交融，達至有象而無形，或有形而無象的雙重意象。至于另一組色調溫暖，氣象祥和之作，則較接近圖案繪畫（Pattern Painting）一類。固然，無論是圖案繪畫或新意象的風格，它們都以抽象構成之理念去統率畫面。——鐘耕略（美籍華人藝術家）
葉向明以細膩而寫實的少數民族風情著稱，甚至獲過大獎。但是，因為夢的需要，他舍棄了這一條平坦順利并為常人所欣賞的道路，而固執地回到自我，回到內心，回到夢境之中，結果是，其畫風大變，變成今天人們所看到的樣子：飄逸、憂郁、懷舊，像獨自出門的長吟者，行走在無人去過的野徑中，而毅然走向了終極，在那里，依稀中有一少女，沉思著，正傷感地等待最后的來者。
葉向明一直沉浸在一種沒有止境的記憶中，他的作品，那些藍調，以及藍調之后的中性調子，作品中那隱隱約約的女性符號，只是其記憶的一道投影而已，長長的，延伸到畫面上，再從畫面延伸到現實中，而合成了一組樂曲，緩慢，悠遠，走向生命的深處，絕不回頭。
記憶就停在這投影中，注視著突然的外來者與懷疑者，沒有解釋，也不需要解釋。——楊小彥（中山大學傳播與設計學院教授、博士生導師、副院長）
客觀而言，如果一個藝術家很真誠地進行創作的話，那么他的作品就是他的自傳，就凝聚著他的個人經驗，反映著他的生活方式和思想方式。葉向明亦是這樣的例子。當他藍調系列作品中表現出那類苦悶憂郁的主題時，實際上他也經歷了自己內心痛苦的裂變；當他的情緒趨向平緩時，其藍調抽象作品中亦顯然流露出安詳平靜的氣氛。尤為值得注意的是，隱約可辨的心形、花形、小天使等形象是葉向明在尋求作畫時的個人情感的象征表露，其帶有隱藏的象征性，那種夢幻般的單純與平靜是對成人世界的一種否定和逃避，也正如他作畫時的態度一樣，在一種超然的心態中向人的本性回歸。
假設我們把葉向明的藍調系列簡單地歸納為表現的抽象，又未免過于單一化和模式化，盡管葉向明也較為注重抽象表現畫面的張力和情緒的表達，但對于其藍調系列而言，重要的不是類型的劃分，關鍵的是把握視覺張力與生理乃至心理的對應關系，體會到抽象語言與意象的結合，心靈與藝術的契合。
但客觀上，葉向明的藍調系列卻又具有典型的范例意義：即不僅要關注抽象藝術自身的敘事語言，更要注意如何以獨特的藝術形式表現出現代人的精神狀態，從心理上而不僅是視覺上傳達現代意味。——陳國輝（策展人、中國藝術研究院博士）
畫家在早期繪畫中對人物形體的素描關系極盡描摹，得益于其鐘情古典主義的情結，他試圖從中世紀藝術大師的作品中獲得靈感，并將人物所處環境以觀念化的抽象背景代替，使人物雖動猶靜，將時光在此刻霎時定格，與古典主義精神追求崇高與安謐之感不謀而合。
作品《悠悠歲月》獲“首屆廣東省水彩畫展”金獎，它是葉向明向古典主義致敬的經典作品，雖然是水彩，構圖上卻有類似馬薩喬作品的圖式，人物造型亦有文藝復興之始喬托筆下的堅實感。即使是水彩，卻有提香之油畫般反復疊加十數遍繪制的層層深入，亦有以素描關系主導色彩關系的新古典主義創作程式。正如安格爾對素描的極其重視——“除了色彩，素描包含一切”——素描線條處理所能達到的表現力，也是畫家葉向明后期作品在藝術上訴求。
葉向明從水彩朝油畫的轉型，也是一個由具象朝抽象轉變的過程，然而，即便畫面給予觀者的視覺感受變化如此之大，畫家筆下一個個人物的神情卻一如既往，他們醉心于各自的精神世界，沒有人可以望向畫外，尋求與觀者對視，而是垂首低眉，若有所思，流露著心無旁好騖的專注或坦然，他們與畫家一樣，借由無止境的記憶，到達永恒的彼岸。——薛軍 鄔夢姝（策展人、評論家）
葉向明的水彩表現出輕松、柔和、古雅、流暢，時而沉浸于抽象表現，時而興趣盎然地重新迷戀上帶寫生性的生動描繪。不過，意趣的表現則是他試圖尋找屬于自己的藝術語言。葉向明多年來沉湎于藝術創作之中，追求個人精神自由的無限樂趣。——張幼云（博士、廣州美術學院教授）
我以為，畫家是用特殊方式進行的一次心像的披露。這一心像是與信仰和追求聯系在一起的。這就是說，畫家把自己從事的藝術創作視為生命，把對高境界的藝術追求做為信仰的皈依。
這是開拓型的中國藝術家將音樂與繪畫交融探索的歷程的見證，是一個有著歷史責任感充滿著哲理思考的畫家，用苦澀的心靈去觸摸愛的路途的行程，抵達新的彼岸的個案。——李人毅（評論家）
葉向明有著深入而精細的寫實功底，自2003年投入抽象畫創作以來，他完成了從學院主義、寫實主義到抽象表現主義的轉型。他的“藍調系列”“夢之旅系列”很好的提供了這樣的案例意義：即不僅關注抽象藝術自身的敘事語言，更注意如何以獨特的藝術形式表現出現代人的精神狀態，從心理上而不僅是視覺上傳達現代意味。他用新的表現形式去探索藝術與社會以及情感的關系，他的畫面具有音樂性，展現了硬質和柔性相沖相融的美感。——杭間（中國美術學院教授）
Ye Xiangming’s painting is not a simple abstract art. As for the overall appearance of his painting, it exhibits abstract concept through realistic image. It shows both the manic depression of the new expressionism and the nightmare imagery of the super-realism. It composes the painting texture with lines, and sets off a kind of depression and uneasy feeling with keynotes of indigo blue and rose-bengal.
Sometimes, Ye Xiangming’s artworks show another kind of peaceful feeling, with keynotes of rose-bengal and orange red, while indigo blue is secondary note, but the lines are mainly in deep tones, on the base of Blue Tone. This kind of artworks shows another kind of imagery, with even texture emphasizing a flat-surface effect.
If Ye Xiangming’s artworks are ever a kind of sub-abstract works, I think they are more New-Image-Style. The background of creativity is abstract and the picturesque scene is built in a fabled space. The nightmare-like chaotic images are laid by short and thick curves, while the images and the textures are overlapped, intangibly. The other series with warm tones and peaceful feeling is a kind of Pattern Painting. Of course, no matter the New Image style or the Pattern Painting is composed mainly by the abstract concept.
——Zhong Genglue (Chinese American Artist)
Ye Xiangming is famous for subtle and realistic minority national feelings that made him awarded. However, he gave up the smoothly common road and insisted on his dream. He came back to himself, his heart and his dream. Thus his drawing style changed much: elegant, depressed, recollecting, as a lonely chanter walking in a field resolutely to the end, where there is a girl thinking and waiting for the final visitor sadly.
Ye Xiangming is always deep in a kind of endless memory. His artworks, those of the Blue Tone and the Middle Tone after the Blue Tone, including the female signs in his artworks, just reflect some of his memory, which is expressed on paintings and showing the reality, as a musical composition, being slow and profound, leading to the far end of life without return.
The memory stops at the paintings, looking at the visitors and the skeptics. Without explanation. No need for explanation.
——Yang Xiaoyan (Professor of the College of Communication and Design of the Sun Yat-Sen University, Doctoral Supervisor, Vice President)
Objectively, if an artwork is composed sincerely, it shows the autobiography of the artist, telling his own experience, his lifestyle and his manner of thought. So is Ye Xiangming’s. The depressed and dejected themes of his Blue Tone Series showed the grief of his inner heart, while it became peaceful, the Blue Tone Series of artworks also look unruffled. Noteworthily, the faintly visible heart, flower and small angel are Ye Xiangming’s expression of individual emotion. The dreamy purity and the calmness is a kind of denial and avoidance to the world of adults. As the detached attitude of his composition, there is a kind of recurrence to natural instincts of human being.
If we just sum up the Blue Tone Series of Ye Xiangming with abstract expression, it might be simplified and modeled. Thought Ye Xiangming quite pays attention to the abstract expression of tension and emotion, as for the Blue Tone Series, it is more than the division of types. The key is to grasp the tension of visual sense and the correspondence of physiology and even the psychology, and to realize the combination of abstract language and image, the art and the soul.
Objectively, the Blue Tone Series of Ye Xiangming is something representative leading to a good significance: not only attention to narrating language of nonobjectivism, but also attention to expression of mental status of modern people by unique forms of art, passing on the implication of modernism not only visually but also psychologically.
——Chen Guohui (Exhibition Planner, Doctor of Chinese National Academy of Arts)
The artist has been dedicated in sketching description of the characters in early painting. Due to deep love in classicalism, he tried to be inspired by the artworks of the artists in the Middle Ages and replace the environment of the characters by abstract background of idealization, to capture the characters and the time in picture, which showed a mere coincidence with the classicalism on pursuit of sublime and peace.
The Yeas Behind, the gold award of the First Watercolor Exhibition of Guangdong Province, is a classical artwork of Ye Xiangming with salution to classicalism. The watercolor shows a kind of Masaccio-like composition and the Giotto-like firmness of character modeling. Though it is a watercolor, the progressively deepening as oil painting shows a kind of new classicalism with sketching leading color relationship. Just as Angle’s attention to sketching (who said sketching is everything except colors), the expressive force of line treatment of sketching is also Ye Xiangming’s goal at artworks in later period.
The transition from watercolor to oil painting of Ye Xiangming is also a process of concretization transit to abstraction. Though the visual change is so much, the figure expression is the same as before. Nobody looks out of the painting or looks at the peopleoutside. They are bent on spiritual world. Some people drop the heads as if deep in thought without distraction. Being absorbed and unperturbed as the artist, the people in pictures are in pursuit of eternity with endless memory.
——Xue Jun, Wu Mengshu (Exhibition Planners, Critics)
The watercolors of Ye Xiangming are relaxed, soft, classic & elegant, easy & smooth. He threw himself into the abstract expression sometimes and active sketch from nature sometimes. However, the expression of interest and charm shows his seek of own artistic language. Given to artwork composition for years, Ye Xiangming has been in pursuit of the freedom of the individual spiritual freedom.
——Zhang Youyun (Doctor, Professor of Guangzhou Academy of Fine Arts)
I have thought that the artists are publicizing their imagoes by particular forms, which are something related to belief and pursuit. Namely, the artists regard the artwork composition as life, and the pursuit of high-end art as belief.
It is a witness of the searching of the combination of music and painting of a pioneering Chinese artist. An artist with strong sense of historical responsibility and thought of philosophy is touching the love with the agonized heart to reach a new goal.
——Li Renyi (Critic)
Ye Xiangming has a firm and subtle basic training of realistic writing. He has threw himself into composition of abstract painting since 2003 and finished the transition from academism, realism to abstract expressionism. His Blue Tone Series and Dream Journey Series led to a good significance: not only attention to narrating language of nonobjectivism, but also attention to expression of mental status of modern people by unique forms of art, passing on the implication of modernism not only visually but also psychologically. In quest for relationship between art, society and emotion by new expression form, his painting is musical, to show the aesthetic perception of combination of hardness and softness.
——Hangjian (Professor of the China Academy of Art)