文 / 何红舟
画如其人，孙晓岚的画一如她的性格，活泼、浪漫且充满幻想。
晓岚的本科并非绘画专业，画画是她的天性使然，曾是她的业余爱好。在肖峰老师高研班的学习结束以后，晓岚把自己大量的时间都投入到绘画中，一边研习，一边创作，现在已经将绘画作为她的专业梦想而孜孜以求。
近一段时间以来，晓岚勤于绘画创作，完成不少作品，我们能看到她不断从日常生活获取绘画的灵感，描绘自己身边的亲人、居家的静物，还有杭州的风景，这些作品大都表达了对生活的热爱与赞美，在一些展览上频频亮相后，获得不少好评，进而还走出国门获得了荣誉。
在肖峰老师的高研班里，孙晓岚活泼的性格容易让人记住，她画画的感觉也不时会令人眼前一亮，让人记忆犹新。在课堂上，晓岚画画的方法比较直接且没有太多的顾虑，能很快抓住物象的特征，色彩响亮，用笔率真，大有初生牛犊的劲头，画虽还显生涩但却有很多动人的地方，任课的老师与同学为此常会啧啧称奇。或许这样下去坚持几年，她就能走上具有学院传统的绘画道路，但在她的内心似乎总在寻求一种没有拘束的绘画方式。在互联网时代，大家能够轻松地了解绘画所发生的那些变化，能见到让人眼花缭乱的各式各样的绘画表达方式。但如何找到适合自己的表现语言，则需要一个勇于尝试与实践的过程。于是我们就看到晓岚编辑成册的这一批绘画作品，从中看见她不断找寻自我的绘画之路。
在孙晓岚的这些作品中，我们大致能看到她在绘画上的多元实践。一面是她保持以写生的方式研习光与色的表达，这类画作大多以静物、风景为主，其中《小院花色》、《圣诞节-1》、《安静的角落》、《秋天的南山路》、《西溪湿地》等作品以写实的画风、和谐的色彩、清新的笔调给人以温馨的美感。另外一些作品则可以看到她以夸张、对比的色彩抒发自己的感受，《江南春色》、《龙井茶园》、《龙井山》等作品开始明显具有浪漫、幻想的意味。这些作品所蕴含的活力，向人们展现了一个江南女子独有的情愫。
从事绘画的人一方面是面向自然时追寻传统，另一方面则是面向自然，追寻内心的感受，两者本有前后相应的关系，中国绘画传统讲的师古人，师造化，得心源，就大概描述了这样一种从事绘画的基本方法。我们常常能看见不少画家在绘画的追寻中痴谜于技巧，将自己迷失在传统的峰峦叠嶂之中；我们也能从艺术史上发现有些艺术家，没有过多传统技巧的束缚，却能走出自己的一片天地，这在现、当代绘画中不乏这样的案例。晓岚也正是在这个时代，感觉到绘画存在的多种可能性，因此而开始她充满自信的前行。
在这里，期盼孙晓岚在未来的绘画之路上成为又一个独辟蹊径的艺术家。祝愿晓岚的个人画展取得成功！
何红舟
2019.7.28
My
Words to Xiaolan
He
Hongzhou
One’s
painting says a lot about one’s character, and Xiaolan’s paintings resemble her
lively, romantic, and highly imaginative disposition.
As
an undergraduate, Xiaolan Sun did not major in painting. It was more of an
embodiment out of her innate nature, and, for a period After completed Mr. Feng
Xiao's advanced-level seminar, Xiaolan was devoted to studying and creating.
Currently, she has regarded painting as her professional dream worthy of
relentless pursuit.
In
recent years, Xiaolan has immersed herself in painting and wrapped up scores of
works. We could see how she tirelessly drew inspirations from her daily life,
taking her closest relatives, inanimate objects at home, and sceneries of
Hangzhou as objects of painting. Most of these works express her love and
admiration for life. Having been frequently featured in some exhibitions, her
works won much praise and even honors from overseas.
In
Mr. Feng Xiao’s advanced-level seminar, people tended to remember Xiaolan’s
lively character. Moreover, her paintings can somehow always light up a spark
in people’s eyes, making its impression vividly lasting in people’s memories.
In class, Xiaolan normally adopts a very straightforward and inelaborate. She
could quickly grasp the characteristics of the object with bright colors and
candid brushwork, exhibiting fearless energy. Despite the lack of fluency, her
paintings were still endowed with plenty of appeals, which often astonished
teachers and classmates. Perhaps she will embark on the path of painting with
academic characteristics if she persists in this way for another few years, but
she seems to be always pursuing an unrestrained painting method from the bottom
of her heart. In the Internet era, it is easy for us to understand the changes
that have taken place in painting and see a dazzling variety of painting
expressions. However, it is also necessary to attempt and practice boldly so as
to find a suitable language of expression. In this context, we have seen
Xiaolan’s paintings being edited into collection volumes, from which we can
witness her painting path with the ceaseless pursuit of herself.
In
these works, we can generally see her pluralistic practices in painting. On the
one hand, she keeps researching and learning how to express light and color
through sketching. Most of these paintings focus on inanimate objects and
sceneries. Among them, works such as Courtyard Flowers, Christmas-1, Tranquil
Corner, Nanshan Road in Autumn, and Xixi Wetland offer us a warm sense of
beauty with realistic painting style, harmonious color, and fresh tone.
Meanwhile, some other works express her feelings with exaggerated and
contrasting colors, demonstrating that works such as Spring in the South of the
Yangtze River, Longjing Tea Garden, and Longjing Mountain begin to visibly bear
romantic and fantastic implications. The vitality hidden in these works shows
the unique emotions of a woman born and raised in the south of the Yangtze
River.
Looking
at the nature, painters not only pursue traditions but also follow their inner
feelings, and there is a naturally corresponding relationship between the two.
The traditional Chinese painting is characterized by the fundamental philosophy
of “making references to our ancestors and learning from the nature in order to
awaken one’s inner perceptions”. We have often seen that many artists are
obsessed with skills in their pursuit of the painting, which inevitably causes
them to lose their way in traditional fetters. We can also find that some
renowned artists throughout the history of art that could usher in their unique
style despite not being restrained by excessive traditional skills, which is
the common trend in modern and contemporary paintings. Xiaolan is living in an
era that can help her experience various possibilities in painting and thus
initiating her journey with confidence.
Due
to the above reasons, I hereby hope that Sun Xiaolan can grow into another
unique artist on the path of painting down the road. Wishing Xiaolan a great
success in the upcoming painting exhibition!
Hongzhou He
July 28, 2019