文/伍秋典

炁不仅化作湖北武当山万物，也通过王灬笔下水墨将各色山水在画面上铺展开来。

第一眼看到王灬的作品，总是惊叹于它色彩的选择与组合。自然元素在同样的空间汇聚，不同的颜色交织在一起，于远处构成飘渺云霞似的变幻与水雾的汇集，在近景组成枯木山石般的遒劲和地下岩浆的沸腾。

再看细节，是东方传统水墨和西方坦培拉技法的碰撞。在王灬笔下，“包容”的主题通过其特殊的技法得以体现。水，“善利万物而不争，处众人之所恶，故几于道“。水与墨通过交融、渲染构建出作品微妙、独特的美感。坦培拉，通过将水溶性、胶性颜料及结合剂以不同比例进行“调和”、“搅拌”，在画布上层层晕染、勾勒，使画面历经数百年仍以最大限度保持色彩鲜艳度与光泽度。二者结合，构建出王灬对亘永山水间事物运行变化规律的探索与追寻。

植物作为天然染料在我国已有近4000年历史，在王灬笔下，中草药不仅仅是治疗病痛的良方，更是精神探索的媒介。疫情期间，王灬对于“免疫当下疫情的思虑”，促使他将中草药作为绘画材料纳入到作品中来。通过将中草药浸泡煎煮取液、燃烧取烟及粉末， 王灬将他对疫情下“免疫”的思考，与道医、与艺术创作相结合，展开了新技法的研究。在《免疫》系列中，白色如丝网一般互相连结，在以棕黑与黄绿为主的背景上铺展开来。它们好像连接在一起不断工作的神经元，也好似素未谋面但在疫情来临时一起努力过的我们。

王灬以自然入画，他将“自然”为景，以水墨、自然胶质及中草药为媒介，或宏观或微观地对自然进行观察。他细腻质朴的笔法，是对生活的记录与艺术的探索。画幅，是景物与人对视的小小窗口。在王灬画作之中，可以体会到山水对人类的温柔与包容。在我们凝视画作时，山水炁象也透过这小小窗口凝视着我们。

Iris Qiudian Wu

“Qi” is the primary energy that generates and constitutes all things in the universe in Daoism. It not only transforms into myriad forms in Wudang Mountain, Hubei, but also unfolds the diverse landscapes through the ink under the brush of Wang Huo.

At the first glance of Wang Huo’s works, one is always amazed at the choice and combination of colors. Natural elements converge in the same space, with different hues interweaving together. From a distance, they form an ever-changing scene reminiscent of clouds and mist gathering, while in the foreground, they compose a sturdy depiction resembling withered trees and mountain rocks, along with the boiling of underground magma.

Upon closer observation, one notices the collision of traditional East Asian ink techniques and Western tempera methods in Wang Huo’s brushstrokes. Under his brush, the theme of “inclusiveness” is manifested through his unique techniques. Water, as expressed by “benefiting all things without contention, dwelling in places that people detest, therefore nearly attaining the Dao” in the Tao Te Ching, is seamlessly blended with ink, creating a subtle and unique aesthetic. Tempera, by harmonizing and blending water-soluble, gel-based pigments, and adhesives in different proportions, achieves a layered diffusion and delineation on the canvas, maintaining color vibrancy and glossiness for centuries. The combination of the two constructs Wang Huo’s exploration and persuasion of changes within the eternal landscapes, delving into the dynamics of things within the realm of everlasting nature.

Plants, serving as natural dyes with a history of nearly 4,000 years in China, take on a new role under Wang Huo’s brush. Medicinal herbs become not only remedies for physical ailments but also mediums for spiritual exploration. During the pandemic, Wang Huo’s contemplation on “immunity amidst the current epidemic” prompted him to incorporate medicinal herbs into his paintings. By soaking, boiling, burning, and grinding medicinal herbs, Wang Huo combines his thoughts on “immunity” during the pandemic with Daoist philosophy and artistic creation, unfolding new techniques. In the “Immunity” series, white threads connect like a web, unfolding against a background dominated by shades of brown, black, and yellow-green. They seem like neurons working together continuously, representing both connections and the collective effort we made during the pandemic.

Wang Huo invites nature onto his canvas, portraying “nature” as scenery through the medium of ink, natural adhesives, and medicinal herbs. His delicate and unadorned brushstrokes serve as both records of life and explorations in art. The canvas acts as a small window for the interaction between landscapes and viewers. Within Wang Huo’s artworks, one can sense the tenderness and inclusivity of nature towards humanity. As we gaze at the paintings, the Qi of the landscapes also gazes back at us through this small window.

伍秋典：

获得加拿大NB省圣托马斯大学人类学和视觉艺术双学士学位后，2023年开始攻读多伦多大学博物馆学硕士。

2021年担任黄匣艺术画廊的《她眼中的世界》策展人兼展览经理。

2022年参加中国浙江省博物馆举办的“丽人行”虚拟策展比赛，获得二等奖。

新不伦瑞克省中华文化协会年度活动的积极参与者。乐动教育机构乐高机器人和VEX竞赛导师，2023年4月带领乐动学员赴美国达拉斯参加VEX世青赛。