郭燕，生于陕西，1995年毕业于西安美术学院油画系，获学士学位。
展览
2007
劳作与诗意—扉艺廊，广州，中国
帷幕联展—菲籽画廊，上海，中国
浮游--中国艺术新一代，首尔，韩国
透明之局--原弓当代艺术邀请展，拉萨，中国
5+3--花聚锦官城—女性艺术展，成都，中国
潜力.成都--当代青年艺术家邀请展，成都，中国
2006
首届2006新动力中国--当代艺术双年展，北京，中国
首届2006新动力中国--当代艺术双年展，上海，中国
成都后生代--当代艺术澳门展，澳门，中国
春季沙龙油画展，成都，中国
收藏
2007年《飘》1号和《飘》4号被中国美术馆收藏
Guo Yan, born in Shanxi, a free artist living in Chengdu City, graduated from the Oil Painting Department Of Xi’an Academy of Fine Art in 1995.
2007 Curtain—group exhibition in feizi gallery shanghai,china
Floating—New generation of art in china seoul korea.
‘5+3’ Beauty Artists Fine Works Exhibition,Chengdu
‘Potential Chengdu’ Young Contemporary Artist Exhibition 2007,Chengdu
Sihai Art Institute ‘Invited Artist Exhibition’, Chengdu
2006 Z Arts Gallery ‘Contemporary Art Exhibition ’, Chengdu
The First ‘New Power China’ Contemporary Art Biennale 2006 ,Beijing
The First ‘New Power China’ Contemporary Art Biennale 2006 ,Shanghai
Macao ‘Chengdu Youth’ Contemporary Art Exhibition, Macao
‘Spring Salon’ Oil Painting Exhibition, Chengdu

创作随想
我常常感觉生活在自己虚拟的世界里，沉浸在超离现实的空间中，无序而痴迷的幻想，虽然这多少显得有些可笑。
回想近期的《飘》系列和《浮》系列，确实无意间流露出我内心深处，对现实与理想的许许多多游离不定的思考。我希望我的作品能表现出人与人，人与城市之间的那种既疏离又相互依附的矛盾关系。即使是热恋的情侣在幸福之中也会充满危机和莫名的伤感，这种伤感其中也包含了我们日益拥挤的城市，荒诞和浪漫并存，那里才是我们的梦中家园？这些复杂的生存关系也常常让我着迷。
我也无法超越自己的生存体验，背弃自己的内心，去画些对自己没有感触的事物，所以每幅作品都是我内心世界的真实投射，虽然这些作品也许并不成熟，但对我而言，它是真实的！

郭燕 2007.10 于成都  

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紫色如烟

郭燕的《飘》系列以紫色作为基调，呈现当代都市生存经验中人与人、人与城之间疏离而又依附的难以理清的纠缠联系。这些画面令人感伤。当代都市空间与文化研究最重要的思想家亨利·列斐伏尔（Heri Lefevbvre）提出“什么才是社会关系的真正存在方式？”这个必须回答的理论问题。在《空间的生产》一书中，列斐伏尔用“空间本体论”回答了这个问题。在他看来，社会关系存在的根本地基是都市空间的存在与生产，现代都市的人造环境是“社会关系的粗暴浓缩”。在近二十年来中国城市前所未有的高速发展过程中，我们看到了这一点。忙忙碌碌的都市人穿梭在钢筋水泥的丛林中，在对物欲的疯狂追逐中越来越物质化和机械化，楼建得越来越高，大地越来越远。飘零的身世、思乡的浓愁逐渐被功名利禄层层遮盖，田野、家园和世界的诗意只能在梦中偶尔灵光一现。在大幅尺寸的画布上，郭燕挥洒着梦幻、奢靡而又神秘的紫色来诉说自己对幸福人生的梦想和淡淡的乡愁。紫色，这个最属于女人的颜色，被她令人心惊的用尽。在每个画面上，层层叠叠的紫色勾勒出一个又一个都市男女的温柔梦乡。在这些明显虚拟的场景中，偎依在床上的青年情侣漂浮在都市的楼群上空，它寓意深长的张力让人想起夏加尔那些时空穿插中温暖而又忧伤的画面。如果如列斐伏尔所言，现实社会不断通过对城市空间的生产来强化自己的物质基础与社会结构，那么，艺术家唯一能做的就是通过对艺术作品与艺术空间的生产来安顿流浪的心与无根基的生存。在自己画面的处理上郭燕颇费心思。她把象征城市的大片楼群安排在画面的远处，用紫得近黑的颜色信笔涂抹，随意地勾勒出一些轮廓，虽不清晰，仍然传达着当代人对都市生活的感受：繁杂、混沌、喧嚣，但又如一张巨大的网无处不在。在庞大的城市上空，是温馨的粉紫色来表现床垫、床单和枕头，再用白色提出如纱般飘逸透明的调子。年轻的情侣在甜美的梦中相拥而卧，相偎相依，他们在静谧的夜里飞离现实，用爱情与家庭的温馨逃避凉薄烦乱的都市生活。郭燕是否有意无意告诉我们，在城市的冰冷和逝者如斯的惶恐里爱是我们无望人生中唯一的救赎和慰籍？ 以如此丰富的紫色，郭燕构建出一个爱情乌托邦来试图对抗我们越陷越深的都市之网，但这张颇具象征意味的席梦思是否会如神话里的魔垫带人们回归梦中的家园，我们不得而知。虚幻的“飘”和“梦”这两个主题显示出了画家对此思考的游移和不确定，也许画面上深深浅浅的紫色正是她轻轻的叹息。

——彭肜

By Rong Peng

Yan Guo’s series of artwork ‘Gone with the Wind’ adopts the colour purple as its foundation. This work of art captures the contemporary urban experience of human survival – the entanglement and alienation between humankind and the city. These pictures effect sorrow in their viewers. Henri Lefebvre, a prominent philosopher in the study of contemporary urban space and culture, raised the critical theoretical question: ‘what are the social relationships embedded in space?’. In his book The Production of Space, Lefebvre answered this question by using ‘space’. In his view, social relations are based on the very existence of urban space and production. Space, according to him, is anything but the ‘passive locus of social relations’. We see this point in the unprecedented development of China’s cities in the last 20 years. Daily, China’s urbanites hustle and bustle through concrete jungle. In pace with the growing pursuit of materialistic wealth, the jungle has become increasingly lofty and domineering,? creating a distance between its inhabitants. The realities of homelessness and depression have been gradually masked by position, power and wealth. The beauty of the natural environment external to the urban space can only be experienced in the illusions of our dream world. Dramatically, on the vast expanse of her canvas, Yan spreads the most extravagant and mysterious shade of purple – conveying her dreams of a happy life yet endless homesickness.
Purple, the color of femininity, is wielded expertly in Yan’s hands. In each of her paintings, shades of purple express the dreams of the urbanites. In these implicit scenes, young lovers lean against a bed whilst floating high above the city buildings. Its allegoric tension reminds us Marc Chagall’s warm pictures of a space-time paradise. If, as Lefebvre said, the real world is trying to strengthen its material base and social structure by creating more urban space, then the only thing artists can do is use their artworks to settle down their wandering hearts. Yan exposes her intimate thoughts and feelings in her paintings. The letter T and arbitrary contours are smeared across the canvas in a deep, dark purple, achieving the likeness of large urban complexes. The image conveys a contemporary urban life –? a sense of complexity, chaos, and noise, is cast like a net over the surroundings. Above the city, a warm hue of pink-purple transforms into mattress, bed sheet and pillow – white enhances the elegant yarn of the material. Young lovers hug, in their sweet dreams they fly in the quiet night away from reality. By escaping from the cold world they capture love and warmth. Whether Yan Guo is expressing her notion that ‘love’ is the one true path of salvation from the city’s coldness? Purple, Yan Guo has constructed a Utopian love in which the urbanites can escape the confines and entrapments of urban life. Like the magic carpet of Arabic mythology, can Yan’s mattress transport the lovers to their longed for utopia? These two symbolic themes, ‘Gone with the Wind’ and ‘Dream’, reveal the artist’s hesitation and brooding over the question. The dark and light shades of purple reflect her contemplative mood.

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放逐于“新都市寓言”
陈 默
郭燕的艺术，有一种新都市寓言的狡猾意味。其出发点，是基于对城市化进程中发生的种种问题的思考。在一个经济高歌猛进，资讯网路横行肆虐，社会空间妖雾迷漫的当下，有财的发财，无财的想财，急猴了窃财。贪官一波波倒又一波波长，百姓一批批向好又一批批学刁。财富向少数人汇集，贫穷为多数人占有。伦理道德逐渐停留在书本层面，诚实信用更多地是作为前人的美德供人瞻仰。可以说，从未有过的空虚和零乱，在人们的毫无防备中，悄然入侵。天天发生在眼前的故事，在不能漠视也不能回避的情形下，从社会学角度，挪来为创作所用是可能的。郭燕的作品，大致为两个阶段：前期的《紫色印象》和近期的《飘》系列。两个系列中的基本框架，是城市与男女。所谓“城市”概念，既清晰又模糊。这是因为在利益的驱使下，城乡一体，农非一体。既然“一体”，边界自会模糊。其代价是，满足了一时虚荣，消解了各自的魅力。而“男女”，既是构成社会阶层实体的基础单元，也是诸多问题的源头。同时，这也是古往今来文学艺术乐此不疲的表现内容。用作者的话说，“我们生活在城市化的矛盾困惑中，对大自然存有原始的渴望。”当这种困惑日益加深时，对原始自然的渴望也越强。难怪人们要怀旧，因为“旧”中有田园牧歌，有享乐亲情。阡陌相闻纵欢，莺歌燕舞天伦。当这一切差不多如海市蜃楼，离我们渐行渐远时，当人类不再拥有童年，当大家“穷”的只剩下钱，我们能做的，不过是充当在城市的暮蔼中游弋的生灵。那些乘“飞毯” 飘荡的男女，有紫色的温润与诱惑，有灰色掩隐的病灶与危机，有寓言化的荒诞与浪漫。所有这些，都在艺术家精准的语言把握中，在个性化的观念图式中，有了必然因果。

2007年4月于成都龙王庙

Marooned on “The New City Fable”
Chen Mo
Guo Yan’s art carries with it a kind of elusive aura of the new city fable. It starts on the basis of the consideration of issues emanated from the process of urbanization. The monstrous fog of boisterous economic growth, and abusive expansion of information network, enshrouds the entire society. The rich continue to be rich, the destitute aspire to get rich, and the impatient steal. Bunches of corrupt officials grow on the wake of the fall of bunches of corrupt officials. Lots of citizens learn to be good and lots of them learn to be bad. Wealth tends to be concentrated in a small minority and the majority was poor. Ethics and morality have gradually got stuck at the level of books .Honesty and faith is more often than not are merely virtues of forefathers to be adored. It can be said that unprecedented vacuum and disorder has silently invaded without the slightest premonition of people. In circumstances which cannot be ignored or avoided, daily occurrences right under people’s nose are likely to be borrowed, from the angle of sociology, for the use of creative work. Guo Yan’s works of art can generally be divided into two stages: namely, the earlier stage of “The Purple Impression” series and the recent “Float” series. The basic framework of these two series was the city, and man and woman. The so called “city” concept was at the same time both clear and blurred. This is due to the fact that in the pursuit of profit, city and village are unified but farming is not. The boundary will naturally become unclear for being “unified”. The price for this is the dissolution of their respective charm for the sake of satisfying the vanity of the moment. On the other hand, man and woman are the basic component units of the body of various social strata, and are the source of various issues. This is at the same time the ever popular theme of literature and art, past and contemporary. To quote this writer’s words: “As we live in the midst of conflicting confusion of urbanization, we hold a primitive desire for Nature.” The primitive desire for Nature will intensify on the ever deepening of this kind of confusion. No wonder people are nostalgic because in the nostalgia, there are pastoral lyrics, family love, countryside partying and singing and dancing family relations. All these are almost like mirage. When we gradually travel farther away, or when mankind no longer live childhood, or when we are so “destitute” as to have lost everything except money, all we can do is to play the roles of spirits floating in the twilight of the city. Those men and women traveling on “flying carpets” are adorned with the moist warmth and seduction of purple. There are hidden sickness and risks of grey. There are fabulous weirdness and romance. All these, managed by the precise language of the artist, and presented and characterized pictorially, have consummated the definite outcome of causation.

April 2007 at The Temple of Dragon King, Chengdu

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