Product details
This book is specially printed and published in conjunction with artist Shi Yiran's 2022 solo exhibition "Emo-Geography" at ARCH GALLERY:
Publisher: ARCH GALLERY
Binding Design: Liang Qing
Dimensions: 180mm x 260mm
Pages: 103
Publication Date: March 2023
“从来没有简单的风景、静物、人物的划分，绘画是一种景观化的心像和情绪，与大地密不可分”。
There has never been a simple division of landscapes, still life and figures. Painting is a landscaped mental image and emotion, which is intertwined with the earth.
-史怡然 Yiran Shi
Design
This album contains 26 works exhibited in the "EMO-GEOGRAPHY" exhibition at Arch Gallery in 2022, some photos of the exhibition site, as well as the exhibition article written by curator Liang Qing for "EMO-GEOGRAPHY". As a continuation and deepening of the "mirage" series, "EMO-GEOGRAPHY" still runs through her feelings and thoughts about places, mobile or overlapping geographical spaces in these works.
In addition to reproductions of each work, the design of this publication includes multi-layered draft paper creations, as well as artist Shi Yiran's life memories in response to the works from her solo exhibition. These elements show readers why her works both carry on the traditions of Western painting and present conflicts that break the conventions of color. This is a thoughtfully conceived and meticulously crafted album, and also an important academic archive of the 2022 "EMO-GEOGRAPHY" exhibition at Arch Gallery.
Contributors
Designer & Curator：梁庆 Liang Qing
Artist: 史依然 Yiran Shi
Yiran Shi holds a doctoral degree from the Oil Painting Department of China Academy of Art (2017) and was a visiting scholar at the Department of History of Art and Architecture, University of Pittsburgh (2019). She currently serves as a lecturer in the Oil Painting Department of China Academy of Art.
Specializing in realistic techniques to depict "supersensory" and uncannily enchanting realms, Yiran Shiis dedicated to exploring the semantic potential of color itself. By releasing the inherent grammar of colors through near-ultra-chromatic values, she transforms light and color into a perpetually emerging reality. Meanwhile, the details of her paintings dissolve into the whole, returning painting to its essence through a minimalist approach. She borrows the layered coloring techniques of printmaking, turning brushstrokes into pure intervals to more explicitly highlight the dimension of time. She also employs collage sparingly, allowing traces from industrial and print culture, as well as fragments from diverse image systems, to intervene in her paintings. The slightly constructed incisions collide with gestural brushwork, evoking a surrealist poetry.
