广州逵园艺术馆将于7月15日至8月27日呈现当代新锐艺术家杨放在广州的首次个展“手上有糖”。该展览共展出165件杨放的布面刺绣油画、木板丙烯及石头绘画作品。

一直以来，杨放都以细腻、乐观的视角观察生活，用真诚的方式进行艺术探索和创作。简单是她所追寻的方向，去掉繁复的技法，保留最想表达的真情实感，以纯真和真实记录生活，探讨成长，在空白的画布上，完成自我与外在世界的对话。她的作品总是极具辨识度，不管是在方形木板上描绘的一个个形态不一、情绪饱满、色彩缤纷的人物形象，还是融合了二维与三维概念的不同系列主题作品，都带有强烈的属于她特有的艺术特征。杨放在勇敢直白的表达中，以可爱治愈的表现形式消解了现实的凌厉与烦恼，让不断面临成长的你我找到内心的平静与前行的勇气。

其中，《我“方”了》系列是杨放对成长的疑问——小孩的世界都是糖果的颜色吗？童年就代表无忧无虑和天真无邪吗？小孩总是想快快长大，长大后就没有唠叨的爸妈和无休无止的作业补习，长大后就可以四处旅行和凶自己的孩子。他们一路上哭着、闹着、叛逆着就这样长大了，带着新的烦恼生活在自己的“小方格”里。他们努力装成大人模样，但似乎忘了其实每个大人都曾经是小孩。这个系列杨放创作了1001幅，作为连贯的绘画作品系列和形成时间跨度的行为作品，正因《一千零一夜》的童话陪伴着她成长，从那些天马行空的故事里她感受到了真诚、善良和对世界无穷的好奇心。她在创作中以这些人物作为载体，将纯真传递给更多人。

杨放身边的朋友们被她定格在《无人喝彩》系列，他们每个人都有不同的成长经历和同的人生际遇，杨放用不同植物的特性去表现每个不同的个体——有的人坚韧如三角梅，有的娇美如玫瑰花，有的清清淡淡如幽兰......他们都站在属于自己的舞台中央,也许台下并没有观众，也许大多数人生而平凡，但每个人却都是独一无二的存在，永远都是自己人生的主角。

而杨放笔下的啾小妞们，个个都长着一张不完美的啾啾嘴，她们时刻梦想成为大人口中的“完美小孩”，每天啾着小嘴，小脸也憋的通红，在大人面前表现成他们希望的模样。啾小妞就像一面镜子，照出了每个人生活中的不完美，杨放通过塑造不同的啾小妞，希望每个人都能在这些饱含童话色彩的形象中看到自己，收获更多勇气去拥抱自己的不完美，同时保护好自己心中那个童真快乐的小王子。

杨放小时候喜欢拍大头贴，和朋友或者自己，喜欢收集一本本小相册，把一个个大头贴到相册里，很天真，那是她快乐的童年回忆。而如今手机就能自拍，拍照也不再奢侈，但很多东西还是需要仪式感，于是她通过创作《来拍一张大头贴》系列，定格这些瞬间的快乐，并籍此保存自己心中永远的美好纯真。

《刺绣》系列源于杨放从小对少数民族服饰图腾的喜爱，那种无意识性的原始艺术表达穿透了杨放的内心，促使她在欧洲留学期间一直尝试在中国传统刺绣和西方油画之间找到平衡。在此系列中，她将刺绣层层累积，使画面达到油画堆砌的效果，并结合“天圆地方”的构图概念，把圆形刺绣放在方形画布的中央，圆形刺绣的部分代表着她的一方世界，也是她的瞳孔，像一座浮岛，像诺亚方舟，漂浮在大洪水后的世界，或者它本身就是一个世界。她希望通过这个系列由内向外去探寻人的外在与内在之间、人与人之间、人与自然之间的一种和谐关系。

成长，一直贯穿在生命的各个阶段，也是我们不断思考和探讨的永恒命题。在杨放的笔触下，那些成长过程中惶恐又焦虑的情绪或肆无忌惮的叛逆被明快的色彩和流动的线条抚平，被细腻的画面和柔软的光影治愈。成长的苦涩，都将化作手中的糖果。

Guangzhou Kuiyuan Art Museum will present the first solo exhibition of contemporary cutting-edge artist Yang Fang in Guangzhou from July 15th to August 27th. A total of 165 pieces of Yang Fang's embroidered oil paintings on cloth, acrylic wood and stone paintings were exhibited in this exhibition.

All along, Yang Fang observes life from a delicate and optimistic perspective, and makes artistic exploration and creation in a sincere way. Simplicity is the direction she pursues, removing complicated techniques, retaining the true feelings she wants to express most, recording life with innocence and truth, discussing growth, and completing the dialogue between herself and the outside world on a blank canvas. Her works are always highly recognizable. No matter the characters with different shapes, full emotions and colorful colors depicted on the square board, or the different series of themed works that combine the two-dimensional and three-dimensional concepts, they all have strong artistic characteristics that belong to her. In his brave and straightforward expression, Yang Fang dispelled the fierceness and troubles of reality in the form of lovely healing, so that you and I, who are constantly facing growth, can find inner peace and courage to move forward.

Among them, the series "I am square" is Yang Fang's question about growth-is the world of children all the color of candy? Does childhood mean carefree and innocent? Children always want to grow up quickly. When they grow up, there will be no nagging parents and endless homework lessons. When they grow up, they can travel around and kill their children. They cried, rowed and rebelled all the way, so they grew up and lived in their own "small squares" with new troubles. They try to pretend to be adults, but they seem to forget that every adult was once a child. In this series, Yang Fang has created 1,001 paintings, which are a series of coherent paintings and behavioral works that form a time span. Because of the fairy tales of Arabian Nights, she grew up, and she felt sincerity, kindness and endless curiosity about the world from those unconstrained stories. In her creation, she uses these characters as the carrier to convey innocence to more people.

Yang Fang's friends were fixed by her in the "Nobody Applauds" series. Each of them has different growth experiences and the same life experiences. Yang Fang uses the characteristics of different plants to express each different individual-some people are as tough as bougainvillea, some are as beautiful as roses, and some are as clear as orchids ... They all stand in the center of their own stage. Maybe there is no audience under the stage. Maybe most people are ordinary, but everyone is unique.

The chicks in Yang Fang's works all have an imperfect twittering mouth. They always dream of becoming "perfect children" in a large population. Every day, they twitter their mouths and their faces are flushed, and they behave as they want in front of adults. Chicks are like a mirror, reflecting the imperfections in everyone's life. By shaping different chicks, Yang Fang hopes that everyone can see themselves in these fairy-tale images, gain more courage to embrace their imperfections, and protect the innocent and happy little prince in his heart.

When Yang Fang was a child, she liked to take photos with her friends or herself. She liked to collect small photo albums and put photos in them. It was naive. It was her happy childhood memories. Nowadays, mobile phones can take selfies, and taking photos is no longer extravagant, but many things still need a sense of ceremony, so she fixed these moments of happiness by creating a series of "Let's take a big photo" to preserve the eternal beauty and innocence in her heart.

"Embroidery" series originated from Yang Fang's love for minority costume totems since childhood. The unconscious primitive artistic expression penetrated Yang Fang's heart, which prompted her to try to find a balance between China's traditional embroidery and western oil painting while studying in Europe. In this series, she accumulated the embroidery layer by layer, making the picture reach the effect of oil painting, and combined with the composition concept of "the sky is round", put the circular embroidery in the center of the square canvas. The circular embroidery part represents her world and her pupil, like a floating island, like Noah's Ark, floating in the world after the flood, or it is a world itself. She hopes to explore a harmonious relationship between human exterior and interior, between people and between people and nature from the inside out through this series.

Growth has always run through all stages of life, and it is also an eternal proposition that we constantly think and discuss. Under the brush strokes of Yang Fang, those feelings of fear and anxiety or unbridled rebellion in the process of growing up are smoothed by bright colors and flowing lines, and cured by delicate pictures and soft light and shadow. The bitterness of growing up will turn into candy in your hand.