四月天 混合媒介 2021
April Day
Mixed media
43x43cm
像生命那樣自由地呼吸. (摘選）
——白俊虹的畫
易英
白俊虹的畫是按色彩來分類的，她確實有很強的色彩表現能力。像印象派畫家—樣，色彩不只是再現客觀的手段，也是表達主觀意志和內心感受的語言。白俊虹也是把色彩看作表現的語言， 但力求用這種語言來表現一種真實與自由。在她的畫中，色彩當然不是唯—的手段，筆觸、形象與色彩構成—個整體，色彩最直接地表達了感情，筆觸則是色彩顯現的依託， 而形象充滿隱喻和象徵。
Breathe freely like life
Painting by Bai Junhong
Yi Ying
Bai Junhong has an immense ability inexpressing herself through color, and as with impressionist painting, color isnot just a means of conveying things objectively, but also a language forcommunicating one’s subjective feelings, and shestrives to use this language to offer a kind of truth and freedom. However, this is certainly not the only artof painting well, as her brushstrokes and images are full of metaphors andsymbols which, along with color, constitute a holistic approach to her work.
美好記憶 混合媒介 2020
Good Memories
Mixed media
43x43cm
對於白俊虹來說，真實與自由包含著兩層意思：一個是作為自我的真實的、自由地存在；另—個是追求真實與自由所需要的能力與勇氣。在她近乎抽象的畫面上，有著潛在的敘事與象徵， 似乎象徵著個體生命的追求與嚮往。白俊虹可能是從追求表現的語言開始的，即怎樣才有可能按照自己的想法和能力去作畫。在生活中，儘可能按照個人的方式或意志去選擇；在藝術上，這種真實卻無法自由地表現，藝術的教條與規則使得藝術只是重複自身，在規則之外，藝術還有廣闊得多的天地。生命的真實存在與藝術的自由表現在白俊虹看來是一體的，藝術如果能像生命那樣自由地呼吸，藝術就必定是自由的，藝術的潛能才可能極大地發揮，才可能讓生命融入藝術，在藝術中觀照生命的真實存在。白俊虹的畫充滿著自由的激情， 她將色彩的純度發揮到一個極限，—切規則都失去了約束，旋風般的筆觸掃過畫面，彷彿是一種衝破壓抑與沉鬱的癲狂。這不是任何構思所能達到的，是生命與藝術的直接溝通，也是畫家以她的方式對生命真實與藝術真實的實現。
In her abstract paintings, truth andfreedom are central for Bai Junhong, which reflects the ability and courage toexist freely as an independent self along with potential narratives thatsymbolize the pursuit and yearning of individual life. She normally begins her work with thelanguage of pursuing expression following her ideas and abilities, but not in apersonal way, as this kind of truth cannot be expressed freely, and wouldresult in art just repeating itself. In Bai Junhong’sopinion, the real existence of life and the free expression of art are anintegral whole, and if art can breathe freely like life, then art must befree. Only then can the potential of artbe brought into full play, so that life can be integrated into art and the realexistence of life can be displayed within it, and her paintings reflect this asthey explode with passion for freedom. As a result, she brings the art of purity to the limit with all ruleshaving lost all constraints, with whirlwind brushstrokes sweeping across thecanvas as if it is a kind of madness that breaks through all the depression.This is not something that can be achieved by any artistic ideas, but through directcommunication between life and art which she expresses in all her work.
花之語 混合媒介 2020
The Language of Flowers
Mixed media
43x43cm
白俊虹的能力就表現她歸復了筆觸的表現力．以筆觸的原始性為—個點，展開色彩與形象的原始性，整個畫面都體現出情感的無意識的表現，這種原始性即自我的真實性，也是自我的自由表現。很多畫家總是沉迷於熟練的技巧，個性與自我被沉沒在技巧之中。白俊虹以她自己的方式突破了這種束縛，打通了表現的自由與自我的真實、生命的自由之間的通道。這是白俊虹的藝術的成功之處。
For many other painters, there is anobsession with skilled techniques and their personalities becoming submerged inthe techniques applied, but for Bai Junhong, there is an authenticity in herwork as she applies the primitiveness of colors and images, along with herexpressiveness of brushstrokes. As aresult, the whole picture reflects the self-conscious expression of emotion andself, and this is the success of her art.
花徑 混合媒介 2020
Flower Diameter
Mixed media
43x43cm
家 混合媒介 2019
Family
Mixed media
43x43cm
誤入藕花深處
——白俊虹的畫
汪洋
繪畫是一個隱形的容器，容納世界、更容納自身。不同於圖片化的影像敘事，白俊虹的繪畫作品偏重於書寫性的特質，可以賦予詩意也可以飽含熱情。正是因為由心而發的自由與靈動，導致了其作品在闡釋內在感知的同時推動了視覺經驗的延續，而且是以激發客觀感知作為具體形式的誘因。
Run into the Lotus Pond
Painting by Bai Junhong
Wang Yang
Painting is an invisible container, in thatit exists in thought or as an idea but not having a physical or concreteexistence, such as love or beauty, and contains the world and itself, and BaiJunhong’s work reflects thisapproach through her abstract representation. Unlike picture-based photos, she emphasizes the characteristics ofwriting in her art, which can be poetic or full of enthusiasm, and it is preciselybecause of this freedom and agility from the heart, that her works promote thecontinuation of the visual experience while interpreting the inner perception,which in turn stimulates the objective perception.
心花 水粉 2018
Heart Flower
Watercolour
43x43cm
白俊虹在作品裡放任著悠遊與遐想，以忘記的姿態來回憶某些曾經的感觸，以遠離的方式來抵近某種情愫，並且直達情感深處。浮光掠影般的畫面感受，輕柔的色彩和光亮的色調，在具象的範疇裡經營著抽象的語言，並進一步加以符號化。很多時候，知識或知性會成為一種無形的羈絆，信馬由韁般的率性更是一種通達，而顯性的繪畫技巧只是一種慣常的輔助手段。她所描畫的的風景與靜物、花卉與建築、乃至於柔光與微風等等，在視覺層面漠視日常邏輯，只注重畫面語言的相互轉換。有效地調控若干元素之間的關係，即是在調控相伴相生的感知秩序，以使得因此產生的審美距離在視覺空間裡反覆發生作用，一種“彼”與“此”的對話隨即建立。
Bai Junhong abandons herself into her workat a leisurely pace, recalling past feelings, approaching them in a distant wayand reaching the depths of emotions. This is then transferred to canvas with floating light and shadow, softcolors and bright tones that blend into an abstract language that furthersymbolizes her unique style. Herrecklessness of trusting the wild horse is a kind of accessibility for BaiJunhong, as landscapes, still life’s, flowers and architectures and even soft light and breeze that shepaints, ignore daily logic on the visual level, and only pay attention to themutual conversion of the language of the pictures. To effectively control therelationship between several elements is to control the accompanying perceptualorder, so that the resulting aesthetic distance will repeatedly play a role inthe visual space, and a dialogue between "the other" and"this" is established immediately.
光、華 水粉 2018
Light、Splendid
Watercolour
43x43cm
沒有任何一個畫家是絕對純粹的畫家，也沒有任何一幅畫面是絕對純粹的畫面，只有無限貼近純粹的畫家或畫面。從畫家的角度出發，任何一個關於藝術（繪畫）的問題，都是關於如何選取視角、進而如何表達的問題。一幅畫面就如同一面鏡子，越是穩妥便越清晰可鑑、越具有說服力。可是，畫面所能容納的的內容終究是有限的，關注畫面以內，只是建立了一個立足點、一個可以讓畫家充分揮發激情的出發點。而越是成熟的畫家越是注重畫面以外，越是在有限之外去追求更廣闊、更自由、更自我的藝術意涵。換句話說，更多的包圍在畫面以外的因素才是具有決定性的、實質性的要因，是所有“原因”的原因。白俊虹正是藉此而延展開來，尤其是展示出了一段心路歷程，一個自我尋找、自我建構、自我完善、自我發散的過程。
It is said that no painter is a purepainter, and no picture is a pure picture, only an infinitely close to the purepainter or picture. From the painter's point of view, any question about art(painting) is about how to choose a perspective and how to express it. Apicture is like a mirror, the more secure it is, the clearer and moreconvincing it will be. However, the content that can be contained in thepicture is ultimately limited and focusing on the inside of the picture onlyestablishes a foothold and a starting point for the painter to fully evoke hisor her passion. The more mature the painter is, the more he or she pays attentionto the outside of the picture, and the more he or she pursues a broader, freer,and more self-explanatory artistic connotation beyond the limit. In other words, more factors outside thescreen are the decisive and substantive factors which are the causes of all"causes". This is how Bai Junhong expanded, especially showing amental journey, a process of self-seeking, self-construction, self-improvementand self-divergence.
原野的記憶 水粉 2018
Memories of the Wilderness
Watercolour
43x43cm
也許，白俊虹是一個沉浸在自我夢境裡的人，而清醒的他人在傾聽、在品評他的夢境。也許，相對於沉睡在夢境裡的他人，她才是一個完全清醒的人。只不過，她是用一個斑斕的夢境來喚醒另外一個虛幻的夢境，而且絲毫並不在意幻象與現實之間的差距。
Perhaps Bai Junhong is a person who isimmersed in her own dreams, while others are listening and evaluating thosedreams. And Perhaps, compared to other people who are normally sleeping whilstthey dream, she is a completely awake. It is just that she uses a colorful dream to awaken another illusorydream, and she doesn't care about the gap between illusion and reality at all.
窗外 水粉 2017
Beyond The Window
Watercolour
43x43cm
白俊虹
2000 畢業於魯迅美術學院教育系
2003 結業於中央美術學院壁畫研究生課程班
現居大連，教師，藝術家
筆記摘錄：畫與生活一樣，要簡潔，簡潔當然是一種高階的約束和自律
有風景的時候，要坐下來看風景，花開時看花，有月的夜晚，喝茶，讀書。
Bai Junhong
2000 Graduated from lu Xun Academy of Fine Arts education department
2003 Completed murals postgraduate course in Central Academy of Fine Arts
Currently lives Dalian, a teacher and artist
Drawing, like life, should be simple, and conciseness is of course a high level of discipline and self-discipline
When there is a view, sit and watch the view. When there is a flower, watch the flowers. When there is a moon, drink tea and read a book.
